I SO ENJOY CELIA'S BEAUTIFUL VOCAL SOUND
AND STYLE, AND HER TASTE IN SONG CHOICES.
MICHAEL FEINSTEIN

Ms. BERK MAKES YOU FEEL ABOUT NEW YORK
THE SAME WAY A COLE PORTER SONG
MAKES YOU FEEL ABOUT PARIS.

STEPHEN HOLDEN THE NEW YORK TIMES

THERE ARE SO MANY REASONS TO LOVE THIS ALBUM – THE LUSH ARRANGEMENTS, THE EXTRAVAGANT ORCHESTRATIONS AND, OF COURSE, CELIA BERK’S KNOWING VOCALS SUNG WITH CHARM, WARMTH AND WIT.

DAVID ZIPPEL
from MANHATTAN SERENADE Liner Notes

ONE OF THE BEST SINGERS I'VE HEARD IN A LONG TIME.
REX REED

YOU CAN’T RUSH SPRING IS ONE OF THE MORE AUSPICIOUS DEBUT RECORDINGS OF RECENT YEARS… AN INTOXICATING REVELATION!

DAVID HURST
NEW YORK ARTS REVIEW

CELIA’S ABSOLUTE SIMPLICITY AND RESPECT FOR THE MATERIAL
MAKE THE SONGS ON YOU CAN’T RUSH SPRING SHINE.
AND ALEX RYBECK FRAMES THEM BEAUTIFULLY WITH HIS
METICULOUS ARRANGEMENTS AND PRODUCTION.

JAMES GAVIN
AUTHOR OF “STORMY WEATHER: THE LIFE OF LENA HORNE”
AND “IS THAT ALL THERE IS?: THE STRANGE LIFE OF PEGGY LEE”

SPLENDID, UNIQUE AND WONDERFUL. CELIA DELIVERS THE MESSAGE
AND HEART BEHIND EACH SONG WITH VELVET INTELLIGENCE.
HER ALBUM YOU CAN’T RUSH SPRING IS IN MY PERMANENT
“MUSIC TO GO WITH A GLASS OF FINE WINE AT SUNSET” ROTATION.
AMANDA McBROOM

IT'S SO LOVELY WHAT CELIA BERK DID WITH MY SONG
"YOU CAN'T RUSH SPRING" WITH ITS LILTING SOFT SWING FEEL
AND THE TENDER BREEZE OF GUITAR. YOU CAN ALMOST FEEL
THE CROCUSES AND DAFFODILS STARTING TO BLOOM!
ANN HAMPTON CALLAWAY

THIS WAS THE FIRST TIME I’VE HEARD MY SONG "I’VE BEEN WAITING
ALL MY LIFE" TRULY DONE WITH SUCH SENSITIVITY. CELIA BROUGHT IT
TO LIFE, AND THAT’S ALL ANY SONGWRITER COULD DESIRE.
BILLY GOLDENBERG

AN UTTERLY IMPECCABLE INTERPRETATION OF “THE PEOPLE THAT YOU NEVER GET TO LOVE”, AS WARM AS IT IS WISE. AND SO BEAUTIFULLY FRAMED, ALMOST AS IF "THE ROMANCE OF A LIFETIME" WERE THE ORIGINAL INTRODUCTION (REMEMBER THOSE?) FOR THE SONG AT THE CENTER.
RUPERT HOLMES

IT’S ALWAYS NICE TO HEAR AN OBSCURE SONG OF OURS,
AND EVEN BETTER WHEN IT’S A WONDERFUL PERFORMANCE.

ALAN & MARILYN BERGMAN, lyricists, “I’ve Been Waiting All My Life”

I SO ENJOY CELIA’S BEAUTIFUL VOCAL SOUND AND STYLE, AND HER TASTE IN SONG CHOICES.MICHAEL FEINSTEIN

ONE OF THE BEST SINGERS I’VE HEARD IN A LONG TIME.REX REED

THE NEW ALBUM:

MANHATTAN SERENADE

/

Update RequiredTo play the media you will need to either update your browser to a recent version or update your Flash plugin.

First Class all the way, champagne cocktails, cashmere blankets, Rockefeller Center. These are the images that come to mind listening to Celia Berk’s elegant second album “Manhattan Serenade.”

A tribute to her hometown, this collection is anything but renditions of the obvious New York songs. “Manhattan Serenade” is curated: a connoisseur’s compilation of one exquisite, undiscovered musical gem after another. Celia Berk and her arranger/conductor, the esteemed Alex Rybeck, consider themselves to be “musical truffle hounds,” and they have indeed rooted through the Great American Songbook to uncover superb, overlooked songs by the crème de la crème of composers and lyricists: Irving Berlin, Rodgers & Hart, Kurt Weill, Langston Hughes, Richard Whiting & Gus Kahn, Burt Bacharach, Rupert Holmes and Cy Coleman. I have to admit I am flattered to have one of my songs included among those of my songwriting heroes.

There are so many reasons to love this beautiful collection of songs—the lush arrangements, the extravagant orchestrations and, of course, Celia Berk’s knowing vocals sung with charm, warmth and wit. Celia has impeccable taste. She chooses great songs, has superb arrangements and then trusts her material. Her interpretations are honest, unadorned and imbued with intelligence, sensitivity and an intuitive understanding of what she is singing about.

And, like the City of New York, with this eclectic and unexpected mixture of songs there is the joy of discovery.

The more familiar of these selections have been reimagined. Kander & Ebb’s All I Need (Is One Good Break) from Flora, The Red Menace, which was Liza Minnelli’s break, gets a Latin twist. And a lovely intimate performance of Gerry Goffin & Carole King’s Up On The Roof, shed of its R&B/Pop roots, is reborn as a soulful delight.

Irving Berlin’s wacky Manhattan Madness and Rodgers & Hart’s I Gotta Get Back To New York deliver the period punch their creators intended. There is a sly pairing of Kurt Weill & Sam Coslow’s The Romance Of A Lifetime and Rupert Holmes’ The People That You Never Get To Love that becomes a wistful, touching mini-musical play about missed romantic opportunities. And totally new to me is Spring In Manhattan, which is merely lovely.

One song being recorded for the first time is The Broadway Song, which Cy Coleman and I wrote for Pamela’s First Musical, an as-yet unproduced musical adaptation of Wendy Wasserstein’s delightful children’s book of the same name. Celia and a chorus of cabaret stars, aided by Alex Rybeck’s witty arrangement and Larry Moore’s sumptuous orchestration, capture all of the affectionate whimsy of our love song to Broadway musicals.

But my favorite cuts are a bluesy, mournful performance of Lonely House from the Kurt Weill & Langston Hughes opera Street Scene and a shimmering rendition of Rodgers & Hart’s A Tree In The Park, two very contrasting pictures of New York City.

And wait! There’s more!

Like me, I bet you will listen to these recordings over and over. Enjoy!

Celia: This song was suggested by several friends, and it couldn’t be more accurate. I was born in Manhattan. Its size doesn’t intimidate me. It never pales in comparison to other great cities (and I’ve seen quite a few). And it is – and always will be – my home. The song has the added attraction of being a hidden gem, which Alex and I take particular pleasure in finding. Alex reached out to his friend Ann Morrison, who originated the title role in the 1983 musical “Peg,” and she kindly shared her original score with us. It’s the perfect way to set the scene for the songs to come.

Alex: I love the lighthearted wit of the lyric, in which a native New Yorker describes the great city in terms of someone from a small town. Melodically it’s quite fetching. As for the instrumental interpolation of a certain Gershwin tune, it just felt appropriate and organic to conjure that authentic native voice. (Perhaps the singer is away from New York, nostalgically dreaming of being back home.)

Ann Morrison: How wonderful to hear this great song in someone else’s voice! Here is the Story of the Song: In 1983, I was cast in a new musical called “Peg” based on the old play by J. Hartley Manners (written for the great America stage star Laurette Taylor). “Peg” was American-produced but British-owned. The music and lyrics were by dear British composer David Heneker, known for his musical “Half A Sixpence.” When I was cast as the lead, Peg O’Connell, he hadn’t finished the score. I was asked to do backer auditions and spend time at the Cooperstown, New York, home of Louis Busch Hager, the American producer, along with the creative team. We had more money to raise for the production Mr. Hager wanted for London’s West End. One evening over dinner, David Heneker told me he was stuck on a song he wanted to write about Peg’s homesickness for her New York hometown. Since the story took place in 1912, David thought she would describe Manhattan like a small town. So he began to describe Manhattan as he and I imagined it to have been in the early 1900s, yet reminiscent of a small town. The next morning I awoke with David calling me into the parlor where a baby grand lived. He played me this song. I learned it very quickly and boy was I thrilled to be a part of the hit showstopper of the musical. In 1984 we opened at the Phoenix Theatre in the West End to tame reviews, but MANHATTAN HOMETOWN was considered hands down the favorite of the critics.

Celia: After we had chosen quite a few songs, we decided we needed one that expressed “striving” and the particular urgency of pounding the New York pavement to get your one, big break. Kander & Ebb wrote it for Liza Minnelli in “Flora, The Red Menace” and it foreshadows NEW YORK, NEW YORK, which they also wrote for Liza, with its lyric “If I can make it there, I’ll make it anywhere.”

Alex: Celia and I looked at a number of songs that dealt with striving and climbing, dreams and ambition. I had an instinct this tune might lend itself to a Latin feel. Pianist-arranger Jeff Klitz took a sketch that Celia and I conceived and fleshed it out, aided by dual percussionists Dan Gross and Roger Squitero.

Alex: This is one of those songs that doesn’t mention NYC specifically but seems to have Manhattan in its DNA. We were also looking for some familiar contemporary songs to balance the lesser-known numbers on the album. Musically, I wondered if the song could exist beyond its original R&B origins in order to feel like it belonged intrinsically to Celia’s sensibility. We tried it as a laid-back jazz waltz. We tossed the sketch to Jeff Klitz, and he brought it to fruition with an arrangement featuring guitar and flute entwining in peaceful harmony.

Celia: I remember making a mental note of this song when I saw the Broadway musical “Beautiful” early in our search for album material. But it was only when Alex pared it back to its essence that I began to see the opportunity to offer a fresh take. It’s a great example of how a sensitive arranger can help a singer and a song find their way to each other.

Alex: I am a die-hard fan of Burt Bacharach’s music – the unexpected twists and turns of rhythm and harmony, the yearning, the bursts of big emotion, and the sudden, subtle poignant nuances. This is one of his least-known songs. Research reveals that it was written in 1974, for a proposed film version of the 1968 Broadway smash “Promises, Promises,” which featured a score by Bacharach and lyricist Hal David. But by this time, their writing partnership had ended, so Neil Simon (who’d written the book for the musical) tried his hand at writing lyrics. Where this song fits into the story, I’m not sure, as there’s no corresponding number in the stage version. The film never happened. The song ended up, oddly enough, as filler on an album by Gladys Knight & The Pips! As far as I know, that’s the only previously recorded version. I love the drama of this song, including the gorgeous instrumental coda, so typical of Bacharach’s unconventional style. And who hasn’t been stuck in a cab in traffic, heart sinking, knowing you will not make that appointment on time?

Celia: Knowing of Alex’s deep admiration for Burt Bacharach’s music, I was delighted when he told me he had a Bacharach hidden gem for our project. It’s certainly a song from another era; today you’d just text the person who was waiting to say you’re on your way!

Celia: This one was suggested to me by producer-writer-actor William Baldwin Young, who had just come to see my debut show and wanted to know what I was working on next. He immediately mentioned MANHATTAN MADNESS, and when I shared the suggestion with Alex, of course he knew it. I have long wanted to do backups on one of my recordings, and this one seemed to fit the bill. With a nod to the Boswell Sisters, Alex created harmonies to be sung by my “studio sisters” Robin, Wren and Lark. (We think they have a bright future ahead of them!) We then shared our initial rhythm session recording of this 1931 song with Vince Giordano. More than anyone else, he keeps the music of that era alive. He replied, “Hehehe…that’s fun!” and agreed to bring a few members of his famed band The Nighthawks into the studio to complete the arrangement. We had to wait for them to finish work on the latest Woody Allen film, but we then had a recording session I will remember for many years to come. And Scott Lehrer did an extraordinary job of mixing all these elements together.

Alex: A bit of retro fun, aided and abetted by the amazing Vince Giordano and his crew. We wanted an authentic period sound for this Irving Berlin novelty. Vince took my sketch and revamped it as only he could with his mastery of that style. To me, this is a black-and-white Warner Brothers movie in miniature.

2:14

6

LONELY HOUSE

Celia: Alex pressed for this one, and I’m so glad he did. After years of learning opera roles, I loved the idea of approaching it as a jazz aria. And the music and lyrics are so perfectly paired, and so evocative, that I just let them, and these great musicians, lead me into the heart of the song.

Alex: This is another song I’ve loved for many years. In “Street Scene,” the opera for which it was written, it’s sung by a tenor. Yet I began thinking of how it might sound as more of a bluesy jazz song, less as an aria. I really think that Kurt Weill’s music and Langston Hughes’s lyrics lean in that direction already. We actually recorded it twice – once as a straight theater ballad (true to the score), and then as a jazz improv, with Dave Rogers adding some muted trumpet licks. We went with Version 2. (It’s a great song either way, and contains what I think is one of the best lyrics ever: “Sparrows have companions; even stray dogs find a friend.”)

Celia: Being a self-styled “musical truffle hound,” I started yelping the minute I heard soprano Lauren Flanagan sing THE ROMANCE OF A LIFETIME one evening at OPERA America. The next morning, I emailed The Kurt Weill Foundation and quickly obtained the song. It turned out to have been written for the 1938 Fritz Lang movie “You And Me,” but fell victim to a change in concept. I took it straight to Alex, who immediately connected it to Rupert Holmes’s THE PEOPLE THAT YOU NEVER GET TO LOVE. That song has gotten some lovely recordings by singers as diverse as Nancy LaMott, Susannah McCorkle and Margaret Whiting, but I think our pairing offers a unique take on both songs.

Alex: Celia brought over the Kurt Weill/Sam Coslow song during our song search. It was a discovery for both of us. We both agreed the melody was intoxicating. But it’s a short song. So we wondered if it might go together with something else. The subject matter – passing ships in the night – put me in mind of Rupert Holmes’s terrific contemporary ballad. When we tried them together, we felt we had something special that made for a more complete story.

Rupert Holmes: An utterly impeccable interpretation of “THE PEOPLE THAT YOU NEVER GET TO LOVE”, as warm as it is wise. And so beautifully framed, almost as if “THE ROMANCE OF A LIFETIME” were the original introduction (remember those?) for the song at the center.

Celia: Early in our search for songs, I had coffee with my friend Debbi Bush Whiting, granddaughter of Richard Whiting and daughter of one of my idols, Margaret Whiting. When I told her we were working on a New York album, her eyes lit up and she said, “I have something for you.” That night, a wonderful recording of A DAY AWAY FROM TOWN, sung by Carol Woods, arrived by email and was immediately forwarded to Alex. The song had languished in a box in Debbi’s basement until “Tex” Arnold, who was Margaret Whiting’s musical director for almost 30 years, rescued it. We are profoundly honored to be entrusted with this song more than 75 years after it was written. Debbi and Tex were in the studio when I did the vocals. Debbi brought a copy of the first page of the manuscript, in Richard Whiting’s handwriting, and I swear I could feel the musical guardian angels in the sound booth with me.

Alex: What fun to be gifted with this unknown “trunk song” written by two of Tin Pan Alley’s greatest names, composer Richard (“Hooray For Hollywood”) Whiting and lyricist Gus (“It Had to Be You”) Kahn. The third collaborator is pianist-composer Hubert “Tex” Arnold, who harmonized Whiting’s melody. Another “helpful hand,” wordsmith Roger Schore, further personalized the lyric for Celia. The result is a truly lovely (and catchy!) song. I think it’s an undiscovered standard.

Debbi Bush Whiting: I was thrilled that Celia and Alex chose A DAY AWAY FROM TOWN for their new CD. Their rendition is heartwarming. As they know, it takes dedication and hard work to preserve a legacy. So this kind of confirmation gives me reason to feel on top of the world.

Hubert “Tex” Arnold: I was so happy to receive Celia’s heartfelt rendition of A DAY AWAY FROM TOWN. She sounds great and Alex’s arrangement certainly captures the era when it was written. This wonderful recording helps keep the memory of Richard Whiting and Gus Kahn alive!

Alex: This is quintessential Rodgers & Hart, with all the qualities one associates with their best work: an instantly catchy tune fitted with literate, witty lyrics. I asked Larry Moore to run with my piano/vocal arrangement, and orchestrate it in appropriate period style, because he has a great understanding of that era. I especially love how he brought the choo-choo train to life!

Celia: This one had to come right after A DAY AWAY FROM TOWN! I’m not averse to leaving the city – but preferably only for “a day.” Then I gotta get back to “civilization”! It was originated by Al Jolson in the 1933 movie “Hallelujah, I’m A Bum” and has been known by several different titles: “I Gotta,” “I’ve Gotta,” “I’ve Got To…” I like the reference to six million New Yorkers, and started tracking the number that appears in other songs about the city. In fact, 1931’s MANHATTAN MADNESS says there are seven million people!

Alex: I came across this in a back issue of Sheet Music Magazine. There’s just something very appealing about this smooth, elegant tune. To me it conjures high society folks, dancing the night away at The Rainbow Room.

Celia: Alex was so convinced about this one that he sketched out an arrangement, recording it on his phone, and sent it to me one morning. I was pretty quickly hooked. The music was written in 1928 for the Paul Whiteman Orchestra, and when lyrics were added years later it became a hit for Jo Stafford & the Tommy Dorsey Band and Helen Forrest & the Harry James Orchestra. Alex’s arrangement captures that pedigree perfectly.

Celia: Rex Reed and jazz singer Joyce Breach immediately recommended this 1952 song when we mentioned our search for New York songs. It was unknown to both of us, and has been blessed with only a few recordings, including those of Tony Bennett and Blossom Dearie. It’s simply lovely, and that’s how we approached it. So did the musicians in the studio, all of whom were as charmed by it as we were.

Alex: I had never heard of this simple yet haunting song until jazz singer Joyce Breach mentioned it to me. Good choice, Joyce!

Celia: Andy Propst, who had just completed a biography of Cy Coleman, suggested this one to me. I mentioned it to Alex, who of course already knew it. It came together in layers. First we sketched it out in my key, then spent one giddy evening adding the musical theatre quotes. (There was one line that didn’t make sense out of context, so Alex emailed lyricist David Zippel. Within an hour, an alternate line had arrived!) We then agreed to give it a true Broadway orchestration by Larry Moore. And, as that took shape, it became clear we needed backup singers. I first approached Jeff Harnar, who had just directed my cabaret debut. Once he was on board, I approached several of my new cabaret friends and was thrilled that Joshua Lance Dixon and Kristoffer Lowe agreed to join us. We were then in the hands of our Co-Producer/Engineer Scott Lehrer, who made all those layers work together to create what we hope is a showstopper!

Alex: Liz Callaway introduced me to this one years ago. It was in her extensive file of songs she has demoed through the years. Celia and I both felt it would be a great deal of fun to do. And enlisting a trio of male cabaret stars (and dear friends) to be our Broadway chorus boys upped the fun quotient even further when we got to the studio. The song is such a joyous celebration of all things Broadway, I couldn’t resist quoting a few iconic Broadway musical moments (“Gypsy,” “A Chorus Line,” “West Side Story” and “Funny Girl”). I hope Cy wouldn’t object to these musical winks. Larry Moore once again ran with my piano arrangement and orchestrated it for the pit orchestra of our dreams! (Special thanks to David Zippel for the lyric tweak we needed to make the song accessible to singers who aren’t named Louise.)

David Zippel (excerpted from his album Liner Notes): One song on the album receiving its first recording is THE BROADWAY SONG, which Cy Coleman and I wrote for “Pamela’s First Musical,” an as-yet unproduced musical adaptation of Wendy Wasserstein’s delightful children’s book of the same name. Celia and a chorus of cabaret stars, aided by Alex Rybeck’s witty arrangement and Larry Moore’s sumptuous orchestration, capture all of the affectionate whimsy of our love song to Broadway musicals.

3:11

13

A TREE IN THE PARK

Richard Rodgers/Lorenz Hart Williamson Music Co.; Warner Bros. Music.

Arrangement by Alex Rybeck

Celia Berk, vocalsAlex Rybeck, piano

Celia: We settled on this one pretty early on, and always knew we would keep it simple. In fact, it became the one track that is just the two of us (as we had done with one song on my debut album). After all the madness of the Manhattan we had depicted in the previous 12 songs, we wanted to end on something quiet and personal. It was recorded at the emotional end of our second album’s journey, and I think you can hear us talking to each other through the music.

Alex: I think this song speaks to Celia because she looks out upon the serene, hidden oasis of Gramercy Park from her apartment. I love the simplicity of this song; to my ear, the tune shows the influence of Jerome Kern on the young Richard Rodgers. And Hart’s lyric is extremely touching, describing and romanticizing what would now be considered an act of vandalism. What could be more New York than that?

Biographies

Celia Berk released her highly anticipated second album, Manhattan Serenade, in April 2016. She celebrated with a return engagement at New York’s Metropolitan Room that was extended through the Fall and won her the 2016 BroadwayWorld New York Cabaret Award for Best Show, Female. In his review, Stephen Holden of The New York Times wrote, “Ms. Berk makes you feel about New York the same way a Cole Porter song makes you feel about Paris.” The album, which won the 2017 LaMott/Friedman Award, is arranged and conducted by Alex Rybeck and co-produced by Tony Award-winning sound designer Scott Lehrer, the team behind her 2014 debut album You Can’t Rush Spring. That album and Celia’s solo cabaret debut, directed by Jeff Harnar, earned Celia a 2015 Bistro Award: Vocalist, 2015 MAC Award: New York Debut – Female, 2015 BroadwayWorld Award for Best New York Cabaret Debut, and The 2015 Margaret Whiting Award. Celia has attracted attention from some of the most prominent proponents of The Great American Songbook. Michael Feinstein said, “I so enjoy Celia’s beautiful vocal sound and style, and her taste in song choices.” Jonathan Schwartz has included selections on his iconic radio program. And Rex Reed wrote, “Charm, sophistication, good taste and a titanic talent are all rare gifts in cabaret…Ms. Berk displays them all, setting the bar very high indeed for every girl singer who follows…Intimate, exquisite, understated, her facial expressions are as exciting to watch as her lyrics are to hear…Where has she been all my life?” Reviewers and listeners are attracted to Celia’s song selections, which include hidden gems from great songwriters, and what Amanda McBroom describes as Celia’s “velvet intelligence.” Nominated for the 2015 LaMott Friedman Award for Best Recording, You Can’t Rush Spring appeared on a number of Best of 2014 lists and has found a global audience, with airplay and sales extending across the US and into Europe, Japan, Australia and Canada. David Hurst of the New York Arts Review called the album, “One of the more auspicious debut recordings of recent years… an intoxicating revelation!” Celia has made memorable appearances at Carnegie Hall and at Jazz at Lincoln Center and The Town Hall as part of the Mabel Mercer Foundation’s annual Cabaret Convention. Celia Berk’s recordings are available on iTunes, CDBaby, Amazon and Pandora.

Alex Rybeck is a pianist, arranger, composer and highly sought-after singers’ coach, well known for his work in theater, cabaret and on recordings. Recipient of two Best Musical Director Awards from The Manhattan Association of Cabarets and Clubs (2005, 2011), Alex has worked with Michael Feinstein, Tommy Tune, Faith Prince, Liz and Ann Hampton Callaway, Donna McKechnie, Rita Gardner, Jane Olivor, Jason Graae, Jeff Harnar, Lee Roy Reams, Metropolitan Opera diva Roberta Peters and “Voice of Hollywood” Marni Nixon. Broadway credits include MERRILY WE ROLL ALONG and GRAND HOTEL, and Alex conducted the world premiere of WHAT THE WORLD NEEDS NOW, earning accolades from Burt Bacharach. His numerous CDs for such acclaimed vocalists as Liz Callaway, Jeff Harnar, Kevin Dozier and Celia Berk have won praise from critics and listeners alike. Original songs include What a Funny Boy He Is (recorded by Nancy LaMott), Bless Your Heart (recorded by Faith Prince), and the MAC-nominated And I’m Leaving Today (Todd Murray, lyrics) and He Remembers/She Remembers (Robert M. Levy, lyrics).

Scott Lehrer’s work as a sound designer and engineer/producer can be heard in a variety of media, from Broadway musicals to CDs, TV documentaries, radio dramas, film soundtracks and museum installations. His work as a music engineer and producer crosses genres from contemporary classical music to jazz to singer-songwriters, folk, blues and world music. Scott engineered Loudon Wainwright’s Grammy- winning High, Wide and Handsome, and he recorded and produced Judy Kuhn’s All This Happiness, Bebe Neuwirth’s Porcelain, and Bach in Brazil for EMI Classics, among dozens of others. Theatrical design work includes the 2008 revival of SOUTH PACIFIC at Lincoln Center Theater (for which he received the first TONY Award for sound as well as the Drama Desk), RAISIN IN THE SUN with Denzel Washington, Mike Nichols’ production of BETRAYAL, Nora Ephron’s LUCKY GUY with Tom Hanks, the musical CHAPLIN (Drama Desk Award) and DEATH OF A SALESMAN with Philip Seymour Hoffman (TONY nom). Off-Broadway and regional work include twenty seasons of the ENCORES: GREAT AMERICAN MUSICALS IN CONCERT series.

I’VE BEEN WAITING ALL MY LIFE

CELIA: We always saw this as the song that could start the album. For a while, it was even our working title because it conveys a lot about my personal story and where singing fits into it. When I shared that story with Alex, he got a faraway look in his eye. I now know that means a great song is about to appear. He dove into the file cabinet next to his piano and out came this wonderful number. It’s from the Broadway musical BALLROOM, which is a show about propelling yourself forward despite life’s challenges.

ALEX: With its gentle bossa nova beat and Jobim-like harmonies, this doesn’t sound like most people’s idea of a Broadway show tune. But it is. As far as the arrangement goes, the only change I made was toward the end, musically stretching a phrase or two, allowing Celia to linger on Billy Goldenberg’s gorgeous melody. Incidentally, I also happen to think this is one of the Bergmans’ finest lyrics, its heartfelt declarations perfectly married to the music.

The musicians on the session really fleshed out my chart and took this to a supreme level. I especially love those stylish guitar licks by Paul Meyers.

BILLY GOLDENBERG: I have to say that this was the first time I’ve heard my song, I’ve Been Waiting All My Life, truly done with such sensitivity. In the show BALLROOM, it was merely a band song, and was subsequently overlooked. Celia brought it to life, and that’s all any songwriter could desire.

CELIA: Penthouse Serenade was another song that emerged from one of Alex’s faraway looks. This time, we were sitting at Vanessa’s Dumpling House on the Lower East Side (NB: try the duck pancakes) and he suddenly said, “Penthouse Serenade! Do you know it?” I didn’t, but as soon as I heard it I knew we were going to record it. We even thought long and hard about having it as the album title. It is exactly how I experience Manhattan. There aren’t many recordings of this song, written in 1931. It seems to first appear in the 1933 animated short BETTY BOOP’S PENTHOUSE, sung by Mae Questel. It’s the title track of a Nat King Cole instrumental jazz quartet album and is the underscoring for the George Cukor film GIRLS ABOUT TOWN.

Stairway to the Stars is a song I have always been drawn to (and every time I hear it I think of Sweet Sue and Her Society Syncopators in SOME LIKE IT HOT). Alex suggested we make it a medley with Penthouse Serenade, and in the space of one hour I watched him build the arc of the story. I particularly love the way he finds our way back to Penthouse Serenade, with an intimate vocal dip to end this very romantic fantasy.

ALEX: In joining these two songs together, the main question was which song should come first? After looking at both possibilities, the order we chose seemed to flow more logically. The next issue was a musical one, of getting from the key of the first song (E flat) to that of the second (G flat). Not a problem; the ascent felt natural. Much trickier was how to return to the first (lower) key without the listener feeling like the song was “sinking.” I think we achieved our goal of modulating downward while creating the sensation of actually rising to a higher key.

CELIA: Friendly Star was written for Judy Garland to sing in the movie SUMMER STOCK. Alex had never seen the movie (!) so the first thing I did was get him a copy. Then we set out to give the music a contemporary feel without obscuring the heart of a sweet but not very well known song about longing.

ALEX: This song seemed to want a delicate approach. And a bit of structural tinkering.

We split the refrain into two sections: the first serving as an “ad lib” verse to establish the story, the second half as a gentle bossa nova as the singer “finds her groove” in discussing her love life with a different kind of nova! It felt natural to go into the instrumental section after “There you are, there you are!” rather than completing the song. So we did. And rather than a strictly standard instrumental break, we chose instead a call-and-response structure between Celia and the soloist, to keep the starlit conversation going.

Initially, I tried using a soft flugelhorn during this middle section, but even that proved “too much,” and a redo with classical guitar seemed a better fit.

Now we could pick up those last few lines of lyrics (“Then my love, you will be standing here close to me,” etc.) to complete the song. To set the lyrics off, the guitar leads melodically, Celia echoes. As a final tag, we used a line of the otherwise discarded verse (“Ev’ry night I eagerly watch them all go twinkling by…”). I hope the spirits of Mack Gordon and Harry Warren aren’t displeased by all this “remodeling.” (And if they are, I will take their advice and “Shuffle Off to Buffalo.”)

3:51

4

You’re All The World To Me

CELIA: When you listen to this Burton Lane melody, you may feel you’ve heard it before but aren’t quite sure where. It’s from the movie ROYAL WEDDING. Fred Astaire dances on the ceiling to the music, but he never sings Alan Jay Lerner’s great “list song” lyrics. You really can’t listen without wanting to do some kind of happy dance. It’s just joyful.

ALEX: Something about the music in the verse (perhaps the modal harmonies) suggested Early Renaissance music, and that informed my choosing harp-like classical guitar and soft flute to set the opening section. Once into the first Refrain, I shed that sound for a more straight-ahead “Broadway show tune” arrangement. I love the original, breezy Burton Lane accompaniment with those memorable whole-tone figurations after each phrase. Saw no reason to “improve” upon them.

2:34

5

Sometimes I’d Dream

ALEX: This song is that rarity — a classy, adult, contemporary ballad. Simplicity was the key to approaching it. I initially overwrote the cello and sax parts, and once in the studio, kept cutting them back. With a song this eloquent, less is much more.

CELIA: Another session of poring over music with Alex prompted him to share several songs by Jeffrey Klitz and Julie Flanders. Alex has long admired their work, and had always wanted to find someone who would admire Sometimes I’d Dream as much as he did. That would be me! It’s an honor to be the first to record it.

2:42

6

Sand

CELIA: If you’ve waited all your life to record an album, you probably want to include something by Stephen Sondheim. Sand is from his score for an unproduced film, SINGING OUT LOUD. I remember one of our musicians laughing out loud when he heard the vocals and saying, “That can only be a Sondheim lyric!” Indeed.

ALEX: I like the feel of this song: lazy, bluesy, and a bit ominous. The cello and vibes lend a touch of sensuality.

Sondheim has said he wrote it as a sort of send-up — an intentional “bad song.” Not sure what he thinks is bad about it. Perhaps the notion of over-working a simile? But set to such beguiling music, the lyric doesn’t come off as either send-up or naïve, but a thorough (and clever) exploration of an idea — and one which proves true! Sand can be anything; so can love. And the music has a strange undertow (to borrow from the beach imagery) that renders it not merely clever but haunting.

(OK, so I did allow myself a tiny musical joke: a punctuating pizzicato from the cello following the lyric “Now it isn’t there!” — Pling!)

CELIA: I’ve long known this song from the Broadway show THE ROAR OF THE GREASEPAINT—THE SMELL OF THE CROWD. But as I allowed myself to dream about where my music could take me, I took a closer look. Then Alex and I looked at it together. While Penthouse Serenade and Stairway to the Stars came together in front of my eyes in an hour, he took this one away to work on alone. When it returned weeks later, it felt to me like a one-act play. He gave me so much to work with and so many choices to make. The orchestration also took time to build, and the end result is a great example of Scott Lehrer’s mastery as an engineer, sound designer and producer.

ALEX: I attempted to shape this short ballad into a miniature drama with a beginning, middle and end.

The opening bolero rhythm was intended to create a sense of anticipation, ambition and strength — briefly abandoned during the mention of lying awake at night (which required something more atmospheric).

CELIA: This one is very much true to our pattern of choosing lesser-known songs by great songwriters. It’s from the Broadway show THE ACT. Maybe because it was written for Liza Minnelli, it always makes me think of the great scene in A STAR IS BORN when Judy Garland sings The Man That Got Away. I asked Alex if we could find a way to tip our hat to that number, maybe with a humming vocal at the top. Alex took it a step further and gave our version of It’s The Strangest Thing a 1950’s sensibility – so much so that when Dave Rogers came in to add his horn, he instinctively chose one true to that era.

ALEX: We wanted to evoke a late-night, jazzy nightclub feel, but with the added elegance of strings. The major arrangement question in my mind was how to treat the title phrase, with its syncopation and unexpected chromatic note on the word “thing.” I hope John Kander, one of my idols, isn’t offended by my taking a few harmonic liberties.

In my opinion this is another one of those songs that deserves to be better known.

3:57

9

The Folks Who Live On The Hill

CELIA: This song was first sung by Irene Dunne in the movie HIGH, WIDE AND HANDSOME. I have loved singing it from the first time I tried it on. I even included it in the program DOUBLE STANDARDS I did with my friend Rich Flanders. As friends found out I was putting songs together for an album, they would invariably ask, “You’re going to do that song about the people on the hill, aren’t you?” Very happy to oblige.

ALEX: Notice the abrupt change of key from verse to refrain! This was because the verse sits higher melodically than the rest of the song. Rather than compromise either portion of the song, we decided to let each section exist where it felt natural. I think the result is that one sits up and listens more intently when the refrain begins.

CELIA: One day, Alex looked at the opera scores stacked on my piano and got one of his faraway looks. He said he had found an interesting track on an obscure Dusty Springfield album. The song was called Go, My Love. It turned out the music was derived from a bass aria from Bach’s St. Matthew Passion. Michel Magne had used it as the theme music for the 1962 Roger Vadim movie LE REPOS DU GUERRIER. Songwriter Eddy Marnay added lyrics, and as Cent Mille Chansons (A Hundred Thousand Songs) it was recorded by Moroccan-born singer Freda Boccara. Norma Tanega wrote these English lyrics for Dusty Springfield.

Alex and I were intrigued. While I explored the sweeping music (Jered Egan gave me wonderful insights into how I could mirror the long, smooth lines of the bowed bass), Alex and Scott Lehrer set out to build a chamber ensemble.

ALEX: A classical approach seemed natural for this song based on a melody by J.S. Bach. Thank you, string players! Thank you, Scott Kuney, for the sensitive guitar.

3:36

11

Rain Sometimes

Arthur HamiltonHarmony Grace Publishing

CELIA BERK, vocals
ALEX RYBECK, piano

ALEX: I first became aware of this song as sung by the great Julie Wilson. It’s the only song on the album with just piano accompaniment. It didn’t seem to require anything additional.

CELIA: Arthur Hamilton is probably best known for Cry Me A River. His quiet melody and straightforward lyric express things that I believe are true. Life will bring inevitable challenges and occasional successes, but love is what endures.

2:54

12

You Can’t Rush Spring

ALEX: The last song picked for this album, it shares a similar theme to I’ve Been Waiting All My Life. We didn’t want to repeat the bossa feel of that song, although Ann Hampton Callaway conceived it that way. I was happy to discover that a gentle swing served it well, and moreover, it had the effect of tilting the lyrical intention toward a “glass half full” scenario: You can’t rush spring, true, but it’s definitely on its way!

CELIA: We knew we wanted to add a number with a swing feel, and also circle back to the themes from I’ve Been Waiting All My Life. Over the course of a few weeks, it felt as if we looked at every song ever written. But from the moment Alex shared Ann’s beautiful song, it was clear we had found what we were looking for. Everyone can find themselves in these deceptively simple lyrics. And her lovely melody really does linger on. How could it not be the title of our album?

ANN HAMPTON CALLAWAY: I wrote this song many years ago on the QE2 for one of my heroes, Lena Horne. I sent it to my friend, the great pianist Mike Renzi, who was getting ready to record Lena’s last album. It was slated for the project, but at 6 p.m. when it was to be recorded, the engineer said, “Sorry, but we’ve run out of time.” It is one of my sorrows that Lena never recorded this song but am so happy it has found a life with singers like Karrin Allyson and Celia Berk.

3:23

13

I’m Glad There Is You

CELIA: This has been a quintessential jazz standard since it was written in 1942. I’ve been singing it for some time, but it was a particular pleasure to have a musical “conversation” with Dan Willis’s sax. Every girl singer’s dream…. Sigh.

ALEX: A classic, this plays to Celia’s strengths as a musical storyteller: her expressivity, intimacy, warmth, and tenderness, conveyed through thoughtful, natural phrasing. For the arrangement, a touch of brushes, mellow stand-up bass, and an impeccable sax solo by Dan Willis — nothing else was needed.

ALEX: After a mostly earnest collection of songs, a touch of irreverent silliness seemed like a fun way to go! A nod of thanks to my good friend and mentor, director Sara Lazarus, who had the witty notion of ending the song with the repeated “about you.”

CELIA: The novelty songs on Barbra Streisand’s early albums made a huge impression on me. So when Alex showed me The Broken Record, I knew I’d found a way to pay homage. And Scott Lehrer found the perfect way to end the album. We hope it leaves you with a smile.

2:27

CLICK ON THE TITLES FOR MORE ABOUT EACH SONG.

Produced by Scott Lehrer and Alex Rybeck

Recorded and mixed by Scott Lehrer
Mastered by Oscar Zambrano / Zampol Productions
Recorded at 2nd Story Sound, New York City

Biographies

Celia Berk released her highly anticipated second album, Manhattan Serenade, in April 2016. She is celebrating with a return engagement at New York’s Metropolitan Room that has been extended through October. In his review, Stephen Holden of The New York Times wrote, “Ms. Berk makes you feel about New York the same way a Cole Porter song makes you feel about Paris.” The album is arranged and conducted by Alex Rybeck and co-produced by Tony Award-winning sound designer Scott Lehrer, the team behind her 2014 debut album You Can’t Rush Spring. That album and Celia’s solo cabaret debut, directed by Jeff Harnar, earned Celia a 2015 Bistro Award: Vocalist, 2015 MAC Award: New York Debut – Female, 2015 BroadwayWorld Award for Best New York Cabaret Debut, and The 2015 Margaret Whiting Award. Celia has attracted attention from some of the most prominent proponents of The Great American Songbook. Michael Feinstein said, “I so enjoy Celia’s beautiful vocal sound and style, and her taste in song choices.” Jonathan Schwartz has included selections on his iconic radio program. And Rex Reed wrote, “Charm, sophistication, good taste and a titanic talent are all rare gifts in cabaret…Ms. Berk displays them all, setting the bar very high indeed for every girl singer who follows…Intimate, exquisite, understated, her facial expressions are as exciting to watch as her lyrics are to hear…Where has she been all my life?” Reviewers and listeners are attracted to Celia’s song selections, which include hidden gems from great songwriters, and what Amanda McBroom describes as Celia’s “velvet intelligence.” Nominated for the 2015 LaMott Friedman Award for Best Recording, You Can’t Rush Spring appeared on a number of Best of 2014 lists and has found a global audience, with airplay and sales extending across the US and into Europe, Japan, Australia and Canada. David Hurst of the New York Arts Review called the album, “One of the more auspicious debut recordings of recent years… an intoxicating revelation!” Celia has made memorable appearances at Jazz at Lincoln Center and The Town Hall as part of the Mabel Mercer Foundation’s annual Cabaret Convention and will appear again in October 2016 in an evening devoted to Stephen Sondheim. Celia Berk’s recordings are available on iTunes, CDBaby, Amazon and Pandora.

Alex Rybeck is a pianist, arranger, composer and highly sought-after singers’ coach, well known for his work in theater, cabaret and on recordings. Recipient of two Best Musical Director Awards from The Manhattan Association of Cabarets and Clubs (2005, 2011), Alex has worked with Michael Feinstein, Tommy Tune, Faith Prince, Liz and Ann Hampton Callaway, Donna McKechnie, Rita Gardner, Jane Olivor, Jason Graae, Jeff Harnar, Lee Roy Reams, Metropolitan Opera diva Roberta Peters and “Voice of Hollywood” Marni Nixon. Broadway credits include MERRILY WE ROLL ALONG and GRAND HOTEL, and Alex conducted the world premiere of WHAT THE WORLD NEEDS NOW, earning accolades from Burt Bacharach. His numerous CDs for such acclaimed vocalists as Liz Callaway, Jeff Harnar, Kevin Dozier and Celia Berk have won praise from critics and listeners alike. Original songs include What a Funny Boy He Is (recorded by Nancy LaMott), Bless Your Heart (recorded by Faith Prince), and the MAC-nominated And I’m Leaving Today (Todd Murray, lyrics) and He Remembers/She Remembers (Robert M. Levy, lyrics).

Scott Lehrer’s work as a sound designer and engineer/producer can be heard in a variety of media, from Broadway musicals to CDs, TV documentaries, radio dramas, film soundtracks and museum installations. His work as a music engineer and producer crosses genres from contemporary classical music to jazz to singer-songwriters, folk, blues and world music. Scott engineered Loudon Wainwright’s Grammy- winning High, Wide and Handsome, and he recorded and produced Judy Kuhn’s All This Happiness, Bebe Neuwirth’s Porcelain, and Bach in Brazil for EMI Classics, among dozens of others. Theatrical design work includes the 2008 revival of SOUTH PACIFIC at Lincoln Center Theater (for which he received the first TONY Award for sound as well as the Drama Desk), RAISIN IN THE SUN with Denzel Washington, Mike Nichols’ production of BETRAYAL, Nora Ephron’s LUCKY GUY with Tom Hanks, the musical CHAPLIN (Drama Desk Award) and DEATH OF A SALESMAN with Philip Seymour Hoffman (TONY nom). Off-Broadway and regional work include twenty seasons of the ENCORES: GREAT AMERICAN MUSICALS IN CONCERT series.

Acknowledgments

This first album proves that the wildest of dreams can come true. They do. But they only come true with wise teachers, generous collaborators, and treasured friends and family. In this world of extraordinary people, I’m particularly glad there have been…

Laura Thomas. Sitting beside her at the piano each week means all the world to me.Brian Hurley, who challenges me to think differently about love songs, old songs, new songs. Mike Dote, who can capture the view that seems to want to be seen.Stefan Bucher and his ability to see me clearly from afar.Ann Hampton Callaway. Her exquisite song is a wonder only time could bring us.Michael Feinstein. His encouragement far exceeds anything I’d sometimes dream.

The discernment and generous guiding light of Scott Lehrer.
And Alex Rybeck, who illuminates every song he touches. I would call it something magical.

This is for my brother. Rain sometimes leads you to sing the songs you’ve waited all your life to sing.

News

September 3, 2017 — ONE MORE CHANCE!

One more chance to sing at the Metropolitan Room’s current location, and one more chance to be part of IT HELPS TO SING ABOUT: SONGS OF BEN SCHAECHTER & DAN KAEL when it returns on September 16 and 17.

July 6, 2017 — THE MABEL MERCER FOUNDATION

S’Awful nice to be part of the October 17 evening celebrating the music of George Gershwin at this year’s Cabaret Convention at Jazz At Lincoln Center.

June 12, 2017 — THECITYVIEW.COM

My first inclusion in a Will Friedwald column! This one’s about the upcoming Dietz & Schwartz & Friends concert at Carnegie Hall.

This duet with Josephine Sanges has been added to the permanent collection of the Performing Arts Library at Lincoln Center! https://youtu.be/B9WsBNj3mqY

February 23, 2017 — MAC AWARDS

So proud to have MANHATTAN SERENADE — the show directed by Jeff Harnar, and the album arranged and conducted by Alex Rybeck — recognized by the cabaret community with two MAC — Manhattan Association of Cabarets and Clubs nominations.

So thrilled to received the BroadwayWorld.com Cabaret Award for Best Show, Female for MANHATTAN SERENADE. Musical Director Alex Rybeck was also honored, as was Director Jeff Harnar (who picked up his second consecutive Best Male Vocalist Award).

What a nice New Year’s surprise from Donald Feltham’s The Broadway Radio Show. My second album MANHATTAN SERENADE is one of the “extras” at the end of his “MY TOP TEN FAVORITE CAST RECORDINGS OF 2016! (plus some extras).”

Thrilled to be nominated for two awards: Best Show, Female and Best Vocalist, Female and to have my Director Jeff Harnar and Musical Director Alex Rybeck nominated as well. You can see some of our collaboration at YouTube.com/CeliaBerkMusic.

Thrilled to be invited back to the Mabel Mercer Foundation’s Cabaret Convention, which returns to Jazz At Lincoln Center this year. I’m part of the October 19 evening saluting Stephen Sondheim, hosted by Jeff Harnar and Andrea Marcovicci.

June 10, 2016 — PANDORA

MANHATTAN SERENADE has just been accepted by Pandora! That’s the second album arranged and conducted by Alex Rybeck and Co-Produced by Scott Lehrer to be selected. Coincidence? I think not. It joins my debut album YOU CAN’T RUSH SPRING, which has had over 7,000 spins.

June 6, 2016 — CABARET SCENES/MUSIC REVIEWS

Thank you John Hoglund for this review of my second album, and especially for the final paragraph recognizing my extraordinary — and extraordinarily generous — collaborators.

Thank you Robert Windeler for this review of my second show, celebrating my second album. So glad he called out the inspired and inspiring contributions of Director Jeff Harnar, Musical Director/Arranger Alex Rybeck, Jered Egan on bass (who paired with Michael Goetz on our April dates), Dan Gross on percussion and Dan Willis on woodwinds.

We’re a “Bistro Pick”! Thank you to the Bistro Awards for highlighting our upcoming shows at the Metropolitan Room. We’re there every Sunday in April, celebrating the release of my new album, MANHATTAN SERENADE.

I’m heading to The Salon, hosted by Mark Janas and produced by Tanya Moberly. Alex Rybeck and I are in the “Salon Spotlight.” We’re previewing three songs from our new album MANHATTAN SERENADE, which drops April 1.

March 6, 2016 — A BROAD SPECTRUM

Thank you to Mary Foster Conklin for including my debut album YOU CAN’T RUSH SPRING on her new weekly show “A Broad Spectrum” on WFDU 89.1 FM/www.wfdu.fm ‘s HD2 channel “Jazz And What’s More.” She’s offering up an assortment of music by Women Who Inspire – Writers, Composers, Instrumentalists and Vocalists (and yes, there will be airplay of male artists too, in the Honorable Men-tion slot).

Fun profile of the 2016 BroadwayWorld Cabaret Award winners in the March/April issue of Cabaret Scenes Magazine! What a thrill to be in such esteemed company. And heartfelt thanks to everyone whose votes earned me the Best Debut Show honor.

January 20, 2016 — RADIO WORLD INDIE

Thank you Lucio Urbano for adding my debut album YOU CAN’T RUSH SPRING to “Straight Up Jazz With Luciano” from 12PM to 1PM on Radio World Indie. http://www.radioworldindie.org/

January 19, 2016 — BROADWAYWORLD AWARD

Thrilled to be voted the Best New York Cabaret Debut of 2015. And oh my, what wonderful company I am in!

I’m Miss January! (Well, Miss January/February…) I’m the cover story of the first issue of 2016. Marilyn Lester’s profile is called “You Can’t Rush Success.”

December 23, 2015 — INAUGURAL SHOW OF A NEW SERIES

Thrilled to be part of the first show of a new series broadcasting David Kenney’s “Everything Old Is New Again” LIVE from the Metropolitan Room the first Sunday of every month. WBAI, 99.5 fm; WBAI.org; oldisnew.org

What a pleasure to join fellow MAC Award-winner Dawn Derow for another performance of her BroadwayWorld Award-nominated show LEGIT: A CLASSICAL CABARET. With Tenor Victor Khodadad. Musical Direction by Mark Janas. Direction by Lina Koutrakas. Presented by Carolyn Montgomery-Forant as part of her new “Stronger Stuff” Series at the Laurie Beechman Theatre.

In the WFUV studio with Alex Rybeck, Sally Mayes, Kevin Dozier, Jeff Harnar and host Bob Sherman recording a special cabaret-focused Thanksgiving Sunday broadcast of his “Woody’s Children” series. November 29, 1-3pm ET on 90.7fm and streaming at wfuv.org.

November 9, 2015 – THE MAC CHANNEL

Selections from my debut album YOU CAN’T RUSH SPRING are now streaming on the MAC Channel of Accuradio.com. It features members of the Manhattan Association of Cabarets & Clubs, which honored me with the 2015 Award for Female Debut, and nominated the album for the LaMott Friedman Award. http://www.accuradio.com/channel/the-mac-channel/707/

October 14, 2015 – THE MARGARET WHITING AWARD

What a surprise and thrill to be presented with the 2015 Margaret Whiting Award by My Ideal Music, Inc. and the Mabel Mercer Foundation. Made all the more special by being presented onstage by Margaret’s daughter Debbi Bush Whiting, in-between my two songs at the Cabaret Convention.

October 3, 2015 – WE’RE A GREAT EVENT IN NYC

Thank you to The Three Tomatoes for including our November 8 return to the Metropolitan Room as one of the Great Events in NYC Life this Fall!

Thank you Nate & Paul for adding tracks from YOU CAN’T RUSH SPRING to today’s “Sunday Show Tunes” in Woking, Surrey, UK. http://www.radiowoking.co.uk/

May 2, 2015 – HELLO PALMETTO, FLORIDA!

Thank you Jan Eberle for including my debut album YOU CAN’T RUSH SPRING on your May 2 “Swing Museum” program at KSAV.org Internet Radio. http://ksav.org/?page_id=8

April 27, 2015 – CELEBRATING JULIE WILSON

Honored to be invited to be part of 54 Below’s celebration of Julie Wilson on May 14.

April 26, 2015 – HOWZIT, SOUTH AFRICA!

Thank you Peter Wagenaar and Radio Today Johannesburg for introducing my debut album to your listeners. And in such esteemed company as Richard Rodney Bennett, Billie Holiday, Barbara Lea, Dick Haymes, June Christy and Chris Connor! The April 27 “I’ve Got My Standards” program promises to be “seriously STRANGE”. Hmm….what song from my album meets that criteria? Have a look at the song list in the “About the Songs” section of GramercyNightingale.com and see if you can guess.

Thank you Ted Otten and Michael Kownacky for including two tracks from my debut album YOU CAN’T RUSH SPRING on tonight’s WWFM program featuring “new to us” releases. It’s the only solo album included, and we’re in the company of some great Broadway cast albums! http://www.dcsro.com/

What a privilege it is to be included in the First Annual Cabaret/Jazz Honors for TheatreScene.net as Outstanding Female Debut. And how wonderfully John Hoglund has put today’s cabaret world into context — past, present and future.

The latest newsletter highlights our new Metropolitan Room dates starting this Sunday, shares the first video on my YouTube channel, and more. You can subscribe to our mailing list in the lower left hand corner of thisGramercyNightingale.com page!

We are so pleased that BwayTunes.com has chosen our version of SAND to be this week’s featured song and free download. Read our Song Notes about this hidden gem from Stephen Sondheim in the About The Songs section of GramercyNightingale.com

Our latest newsletter announced new Metropolitan Room dates, shared some very generous reviews of our Fall debut, detailed my Year of Firsts, and much more. You can subscribe to our mailing list in the lower left hand corner of thisGramercyNightingale.compage!

Thank you Donald Feltham for picking YOU CAN’T RUSH SPRING as one of his three favorite vocalist releases of 2014. At the 1:21 mark of Donald’s “The Ten Best Cast Recordings of 2014!” you can listen to our version of Stephen Sondheim’s SAND.

Thank you Stephen Hanks for including my Year of Firsts in this extraordinary array of artists I admire. I may be “mature” but I sure feel like a gawky kid surrounded by so many seasoned professionals.

Looking forward to seeing the interview Musical Director Alex Rybeck and I did with Clifford Bell for his special two hour edition “NEW YORK, NEW YORK: POSTCARDS FROM THE CABARET MOTHERSHIP”. MONDAY, DEC. 15 2pm PST

Excited to be invited to participate in the Guinness World Record Breaking Event: The Longest Variety Show at the Metropolitan Room in New York. 60 hours of continuous entertainment. The most performers in one show, ever! Broadcast live. My slot is 9:15 am on Friday, January 2.

Heading down to Asbury Park, NJ on Monday, November 24 to tape a segment on Tim McLoone’s program. Delighted that guitarist Sean Harkness is joining me. We’ll be doing a live version of our studio recording of YOU CAN’T RUSH SPRING.

November 13, 2014 – DOUBLE YOU ENNY DOUBLE YOU, ELEVEN THREE OH IN NEW YORK!

Thank you Joe Fay and Metromedia Radio for adding YOU CAN’T RUSH SPRING to your playlist. This girl singer is thrilled you are keeping alive the tradition of the great WNEW-AM 1130 New York.

Thank you Rick O’Dell for adding the title track of YOU CAN’T RUSH SPRING to the playlist of Sunday Jazz Brunch at WDCB in Chicago. Ann Hampton Callaway wrote this beautiful song for Lena Horne. (See her story in our Song Notes!)

November 2, 2014 – CHEERS, ENGLAND!

CD Baby reports YOU CAN’T RUSH SPRING has jumped the pond and is selling in your country.

October 29, 2014 – HARTFORD, CT

Thank you Bob Parzych and WRTC 89.3 FM Radio in Hartford, Connecticut for putting YOU CAN’T RUSH SPRING into rotation!

October 25, 2014 – A SHEYNEM DANK…

… Woman Around Town Alix Cohen for the generous shout out in her review of Thursday’s joyful final evening of The Mabel Mercer Foundation’s 25th Annual Cabaret Convention at Rose Hall Theater at Jazz at Lincoln Center.

September 21, 2014 – NEW YORK CABARET CONVENTION/JAZZ AT LINCOLN CENTER

Honored and thrilled to be invited by KT Sullivan and The Mabel Mercer Foundation to join the final night of the 25th New York Cabaret Convention at Jazz at Lincoln Center’s Frederick P. Rose Hall on October 23. Hosted by Klea Blackhurst, the evening’s theme is Come On and Hear: The Songs of Irving Berlin. I’ll be bringing an extra special Alex Rybeck arrangement, and happily he will be at the piano.

September 19, 2014 – COME TO THE CABARABIA

Thank you Clifford Bell for the apt shout out to Arranger/Conductor/Co-Producer Alex Rybeck, and the generous words about our album.

September 19, 2014 – FOLLOW, FOLLOW TO BLOOMING GROVE, NY

Tomorrow night we head back to lovely Blooming Grove for an evening of September songs.

September 16, 2014 – HELLO CANADA!

iTunes reports that our album YOU CAN’T RUSH SPRING is being downloaded by our music-loving friends to the North.

September 13, 2014 – HELLO PALM BEACH COUNTY!

On September 15, Jill and Rich Switzer will feature YOU CAN’T RUSH SPRING on “New Music Monday” at Legends 100.3 FM WLML in Palm Beach County!

http://www.legendsradio.com/jill–rich-switzer.html

September 12, 2014 – A GRAND NIGHT FOR SINGING

Thank you Carol Montana and the Times-Herald Record for this lovely write up of our August Broadway Concerts Direct program in Blooming Grove, NY. We are a merry band of musicians!

Rich Flanders and I are so pleased to have SAGEBRUSH LULLABY played by Wyn Machon on Oamaru Heritage Radio 88.3fm, New Zealand Country Music Radio 107.3fm Fielding, and The Peaks Radio 88.4fm North Canterbury. More about this lovely Kay Swift song at http://www.cdbaby.com/cd/richflandersandceliaberk2

Looking forward to my third visit to Music at the Mansion August 31 at the Oakeside Cultural Center in Bloomfield, NJ. Thank you Corinna Sowers-Adler and Nicholas Adler for the invitation! With Eric Sedgwick at the keyboard, we’ll preview material for my 11/23, 11/30 and 12/6 Metropolitan Room engagement celebrating the release of YOU CAN’T RUSH SPRING. Add in my friend Craig Pomranz, Jamie Hartmann, Deborah Martin and of course Corinna herself and it promises to be a lovely way to spend a late Summer afternoon.

A lovely Summer Sunday at The Metropolitan Room, hosted by Susan Winter and Deb Berman. Singing YOU CAN’T RUSH SPRING with Sean Harkness on guitar and Alex Rybeck just outside the frame of the photo on piano.

August 9, 2014 – BLAME IT ON THE SUMMER NIGHT

Saturday evening in beautiful Blooming Grove, New York: A Lew Spence gem and Stephen Sondheim’s SAND from our album YOU CAN’T RUSH SPRING.

August 5, 2014 – HELLO LONG ISLAND!

Thank you Bob Perry for playing our title track on 1100 WHLI and whli.com this morning! What better introduction of our album to the station’s listeners than Ann Hampton Callaway’s beautiful YOU CAN’T RUSH SPRING, arranged by Alex Rybeck and featuring Alex on piano, Sean Harkness on guitar, Steve Doyle on bass and Dan Gross percussion.

Thank you Eddie Dunn, Host of Saturday Night Jazz at KWIT-KOJI, for sharing SAND with the good people of Sioux City, Iowa; Northeast Nebraska and Southeast South Dakota. We’re so pleased you played this lesser known gem by Stephen Sondheim.

And thank you for your kind words: “An assured and sophisticated sound…emotionally expressive and technically flawless.”

http://kwit.org/programs/saturday-night-jazz

July 21, 2014 – THE PENTHOUSE Radio

Thank you Bob Perry and The Penthouse Radio for adding PENTHOUSE SERENADE / STAIRWAY TO THE STARS (“an inspired pairing”), I’VE BEEN WAITING ALL MY LIFE, THE FOLKS WHO LIVE ON THE HILL and YOU CAN’T RUSH SPRING to your playlist!http://www.thepenthouseradio.com

July 18, 2014 – SOLO CABARET DEBUT THIS FALL!

Rapturously happy that Sean Harkness on guitar and Michael Goetz on bass are joining us at the Metropolitan Room November 23, November 30 and December 6. With Alex Rybeck as Musical Director and Jeff Harnar directing, this Girl Singer is making her solo cabaret debut encircled by the best of the best.

July 18, 2014 – EVERYTHING OLD IS NEW AGAIN WBAI 99.5 FM

Thank you David Kenney for including us on this Sunday’s “Everything Old Is New Again” program.

July 14, 2014 – THE JAZZ CAFE WRHU 88.7FM

Thank you John Bohannon for playing MOONGLOW today on The Jazz Café WHRU 88.7 FM. So pleased this beautiful duet with Rich Flanders is in the spotlight. Music by Will Hudson and Irving Mills. Lyrics by Eddie DeLange. Arrangement by Alex Rybeck. Alex on piano. Michael Goetz on bass. Dan Gross on drums and percussion. Mixed by Paul Rolnick. Available on iTunes and CDBaby!

http://www.johnbohannon.com/radio_landing.html

July 11, 2014 – SUMMER LOVIN’

Tomorrow evening in Blooming Grove: Looking forward to singing back up for Carole Demas as Broadway’s original Sandy recreates Summer Nights from Grease for our opening number. Also revisiting IF IT’S ONLY LOVE from Metropolis with Mark Planner, spotlighting IT’S THE STRANGEST THING from “You Can’t Rush Spring” and trying on a new song for the first time: MANHATTAN IN JULY by my good friends and collaborators Ben Schaechter and Dan Kael. More information at http://www.BwayDirect.com

July 9, 2014 – LAURIE BEECHMAN THEATRE

Opening night of OUR TIME: SULLIVAN & HARNAR SING SONDHEIM. KT Sullivan and Jeff Harnar brought new insights to familiar songs, and new songs to those of us who thought we knew it all. A wonderful evening.

With Jeff and Mark Nadler

And with Debbi Bush Whiting. Her mother Margaret Whiting is one of the singers in my personal pantheon of greats. Her grandfather Richard A. Whiting contributed treasures to The Great American Songbook including Hooray for Hollywood and On The Good Ship Lollipop. Thrilled to learn that Debbi found time to listen to YOU CAN’T RUSH SPRING in and around preparing for the recent Carnegie Hall concert celebrating her mother.

July 8, 2014 – ANNHAMPTONCALLAWAY.COM

Honored to be amongst the artists who have recently recorded a song by Ann Hampton Callaway:

This Saturday – June 14th, 2014 – we’ll celebrate June in Blooming Grove. Lilacs will be gathered thanks to Ivor Novello…The Doctor Will Be In for Charlie Brown and Lucy… The frustrations and charms of a cabaret audience will be explored… and we’ll enjoy the rewards that come from not rushing Spring. More information at http://www.BwayDirect.com

What a thrilling unexpected opportunity to sing at the Bemelmans Bar at The Carlyle Hotel on May 25th and to share the stage with Jim Caruso, Billy Stritch, Steve Doyle, Alex Rybeck, Jeff Harnar, Linda Lavin and many others. Click here to see more of this wonderful evening of music on BroadwayWorld.com:

Thank you to Luha Thoughts for our first review of YOU CAN’T RUSH SPRING!

“I can’t remember the last time I heard an album and told myself, ‘Wow. this is exquisite.'”

“I can’t think of a bad track in here, and it’s so cohesive and rounded that each song fits where it should be, not a note out of place. Alex Rybeck’s arrangements give all the songs a sheen that enhances their polish”

Notes on why we chose this great Kander & Ebb song for our album You Can’t Rush Spring, and musician credits, can be found in the ABOUT THE SONGS section here on GramercyNightingale.com

May 14, 2014 – YOU CAN’T RUSH SPRING IS HERE!

My debut album, YOU CAN’T RUSH SPRING, conducted and arranged by Alex Rybeck, is finally here! It is available for purchase on iTunes and CDBaby. Follow the links on the home page to purchase the album and click on the song titles to read the extended liner notes for each track.

May 4, 2014 – SAGEBRUSH LULLABY RELEASE

Just released a duet — SAGEBRUSH LULLABY — with my friend and singing partner Rich Flanders. Written by Kay Swift and arranged by Alex Rybeck, it’s available as a single on iTunes and CD Baby. This lovely song has a special place in The Great American Songbook. Read about it here: http://www.cdbaby.com/cd/richflandersandceliaberk2

April 28, 2014 – EVERYTHING OLD IS NEW AGAIN

Thank you David Kenney at WLBT for including our version of YOU CAN’T RUSH SPRING on the April 27 broadcast of “Everything Old Is New Again”. It’s a thrill to be on the same track list as Billie Holiday, Duke Ellington, John Pizzarelli, Judy Garland, Billy Porter, Carmen McRae, Shirley MacLaine, Ella Fitzgerald, Peter Allen and others. And the program archive means everyone can hear your kudos for Alex Rybeck and Ann Hampton Callaway. Hear what David Kenney had to say here: http://www.mixcloud.com/oldisnewradio/oldisnewradio_140427/

April 10, 2014 – CO-HOSTING SALON WITH MARK JANAS

Excited to be Co-Hosting Salon on Sunday evening. This award-winning weekly Open Mic is hosted by Mark Janas and produced by Tanya Moberly. The theme for the evening is “Birds of a Feather: Songbirds and Spring.” The Salon Spotlight will feature Jaye Maynard. Alex Rybeck will be at the piano. Sarah Rice and I may add a little “cluckatura” to Mark’s “Classical Corner”… http://markjanasthesalon.com/

April 9, 2014 – BROADWAY COMES TO THE GARDEN

Looking forward to dusting off a golden oldie with my friend Rich Flanders on Saturday night. And Irving Berlin’s Yiddisha Nightingale will also be spotted in Blooming Grove that evening.

This evening will feature an eclectic evening of song, about well… just about everything — maybe even songs to bring an early spring. (One can always hope. Enough with all this snow!) Songs will include favorite selections from the American, International and Celtic songbook.

What is Sunday without “A Bagel and A Song”?
Delighted to be joining Alex Rybeck at
OPEN MIC @ THE MET
a new series presented by Deb Berman & Susan Winter
12 Noon – 2:30 pm
The Metropolitan Room
34 West 22 Street.
I’ve been invited to sing two songs from our upcoming album!

Press

CELIA BERK’S MANHATTAN SERENADE EXUDES ROMANTIC NOSTALGIA

Stephen Holden// The New York Times // April 25, 2016

Ms. Berk made you feel about New York the same way a Cole Porter song makes you feel about Paris.

Celia Berk’s terrific sophomore effort, Manhattan Serenade, is a worthy companion to her smashing debut disc, You Can’t Rush Spring (2014), the recording that established Berk as a savvy new singer with style and substance to burn.

LUXURIATING IN THE LUSH PHRASINGS OF SINGER CELIA BERK: THE ONE-OF-A-KIND CHANTEUSE HOLDS COURT AT THE METROPOLITAN ROOM THROUGH MARCH

Rex Reed // New York Observer // March 17, 2015

Charm, sophistication, good taste and a titanic talent are all rare gifts in cabaret…Ms. Berk displays them all, setting the bar very high indeed for every girl singer who follows…Intimate, exquisite, understated, her facial expressions are as exciting to watch as her lyrics are to hear. Celia Berk sings in tune and from the heart, with resonance in her lower register, power in her upper register, and passion in both. Where has she been all my life?

Celia Berk’s MANHATTAN SERENADE is the runaway winner of the award for Best Show, Female. This is the second major category win for Berk, who won in the Best Debut Show category last year for YOU CAN’T RUSH SPRING.

THAT WAS ENTERTAINMENT: A ONE-NIGHT CONCERT FOCUSED ON SONGWRITERS: DIETZ & SCHWARTZ (and some more recent ones)

Marilyn Lester // Nite Life Exchange // June 22, 2017

A play on words was delivered by the ever-evolving Celia Berk, with droll sophistication, and Alex Rybeck on piano, in “The Party Upstairs” by Ronny Whyte and Francesca Blumenthal. Berk also remembered Dietz and Schwartz with “Something to Remember You By,” sung with cool and smooth elegance.

When life gets you down, It Helps to Sing About It, crooned the stellar cast … The all pro cast included Celia Berk, who charmed with “I’ll Wait” (while the audience gets it together) and “Manhattan in July”, a lovely song that warmed the soul about New York.

Intimacy and connection, whether with a crowd at Jazz at Lincoln Center, fellow artists at piano bar Don’t Tell Mama, or scattered tables at The Metropolitan Room in Flatiron, is what Berk is constantly chasing…

So, what do you do for an encore when you’ve been showered with cabaret awards and nominations in your solo debut year, had your face on the front of Cabaret Scenes magazine as the subject of one of the just six annual cover feature stories, received a coveted spot in the annual Cabaret Convention concert program others long for (for many long years) and, while on the big Jazz at Lincoln Center stage, been surprised by a previously unannounced honor—presented with a plaque and award named for star songstress Margaret Whiting? If you’re the celebrated Celia Berk, you go to work.

Where is cabaret’s next top headliner coming from? To paraphrase a Sondheim lyric, “Don’t worry, she’s here.” She’s Celia Berk, who packed the Metropolitan Room through four Sunday sessions in April with her rich voice, simplicity of style, and warm personality.

As was apparent from her earlier performances and debut CD, this is a woman of remarkable emotive fluency – capable of putting a smile, a smirk or a wink into the last third of a syllable, and equipped with a rich alto instrument under intelligent and precise control.

In an era in which the big voice and the big belt holds sway, it’s a treat to hear a singer approach a song with an artistic sensibility that honors both the music and the lyrics. In the latter regard it’s very clear that Berk has thought about the lyric and she knows what she’s singing about from the inside out. Berk proves you don’t have to shout to be truly heard.

One of the more auspicious debut recordings of recent years, Celia Berk’s You Can’t Rush Spring is an intoxicating revelation! An elegant vocalist with an instinctive attention to lyrics and a straightforward delivery, Berk’s unerring musical taste is exceeded only by her superb choice of collaborators…Like Lee Wiley, Julie London and the late, great Mary Cleere Haran, Celia Berk is a subtle storyteller. This classy recording only confirms she has many more stories to tell.

Next up was the extraordinary mezzo soprano Berk with Alex Rybeck on piano, with a full version (with every lyric and great acting skill) of the Bette Davis number “They’re Either Too Young Or Too Old.” She was then surprised to be presented by Debbi Whiting with the Margaret Whiting award and the cash included with the award. After, Berk sang a wonderful “I’ll Walk Alone” effortlessly hitting great high notes.

Making one of the most auspicious cabaret debuts in years, [Celia Berk] fulfilled her dream and took the Metropolitan Room and cabaret by storm in 2014 with her eclectic show, You Can’t Rush Spring…To say she found her calling (after dreaming about it for so long,) would be an understatement…It was this lady’s classy approach and intelligence that shined throughout the hour – making her a winner. She’s funny. She’s reflective. Mostly, she has the goods that should keep her in the cabaret spotlight as she climbs the ladder – with a lot of support.

…The Metropolitan Room had the quietness of a recording studio as the very musically sophisticated audience was held in rapt attention by Celia’s artistry. I would be enamored with any song she wrapped her voice around, but her unique song selection made the evening especially compelling.

Celia Berk has been making a name for herself with her debut album You Can’t Rush Spring and her debut cabaret show of the same name. Both include what she calls hidden gems: lesser-known songs from great songwriters. In preparing for the show, she came across a song that has proven to be a favorite with audiences and critics.

Sweeney Todd original cast member Sarah Rice introduced Jeff Harnar. He did a sweet Sondheim medley of “The Little Things You Do Together,” “I’m Calm,” and “Getting Married Today.” He then presented the Best Vocalist Award to Celia Berk, who marvelously performed Sondheim’s little known song ”Sand,” from the unproduced movie musical, Singing Out Loud.

I was a fan before everyone else jumped on the bandwagon!…In October, both Celia and Peggy Eason appeared in the Mabel Mercer Cabaret Convention on the same night honoring Irving Berlin. Both brought down the house. When Celia hit the cabaret scene with her first show a few months ago, she won over all who saw her, including Rex Reed, who sung her praises in print. Actually, all the critics have been as impressed!…

The first thing you’ll notice when you spend an evening at a performance of Celia Berk’s is her smile: wide, eager, genuine. The next is your own. Upon entering the Metropolitan Room for the highly anticipated return of her “You Can’t Rush Spring” solo cabaret (modeled after her 2014 debut album of the same name), Ms. Berk beamed with delight and an infectious excitement as she walked through the room with a welcoming and thankful grace. By the time she reached the stage and took the microphone, there was a shared rapport across the room of old friends and the newly acquainted, all – including Berk – there to enjoy a good time.

Celia has the voice, the phrasing, and the demeanor to rank her as one of the most sophisticated cabaret performers out there. I wish I had gotten the same lift from an old E.H. Hutton tip as I got from Rex’s.

Most Deceptively Comic Performance During a Wonderful Vocal: Celia Berk’s rendition of Irving Berlin’s “Yiddisha Nightingale” at the Cabaret Convention and in her solo show at the Metropolitan Room not only revealed a surprising vocal range but also a Fanny Brice-like comedic flair. So nu? What’s not to love?

Most Obvious Breakout Performers Who Didn’t Make My Favorite 20 Shows List: …Celia Berk was one of the surprise stories of 2014 with both her CD release and solo show at the Metropolitan Room

What would you attempt if you knew you could not fail? The question signaled an onramp for Celia Berk. Unsure of outcome, the performer was and is determined to create a journey embodying integrity and artistry.

Ms. Berk took many years before deciding to launch her solo career, and she did everything right. She surrounded herself with top talent, released a nifty CD, “You Can’t Rush Spring,” and demonstrated herself to be a fine interpreter of little-known songs from great composers, as well as having an unexpected flair for comedy. Expect more in years to come.

I would love to see this lady live in one of her cabaret outings, and one day she may well come over to the UK, but in the meantime I can’t give enough praise for this CD and, if like me, you are a great admirer of the voices and styles of Peggy Lee and such, then you will LOVE this album. You can get it on CD or through Amazon or iTunes. To be honest, I don’t care how you get it – just get it!

CABARET LIFE NYC: MY SECOND HALF OF 2014 CABARET JOURNEY or ONE REVIEWER’S LONG PROCRASTINATION SPECIAL AS WE BID FAREWELL TO ANOTHER YEAR OF SHOW HOPPING

Stephen Hanks // BroadwayWorld.com // December 26, 2015

Maybe you can’t rush spring, but you can certainly rush your cabaret career when you’re starting it later in life. Celia Berk isn’t wasting any time as this past year she released her highly-praised debut CD (of the same name), wowed the Cabaret Convention in October, and staged her solo debut show…And she went three-for-three. Berk’s show…featured “hidden gems from great songwriters,” during which the audience discovered that Berk herself was a hidden gem…Berk is funny, charming, and expressive, and possesses a highly appealing alto to mezzo range…definitely one to watch in 2015 and beyond.

Singer Celia Berk was working on recording her debut album of standards, show tunes, and hidden gems from the Great American Songbook. She needed somebody to help her navigate the visual side of the process, and of course I was happy to help…Celia was kind enough to trust me with an unfinished mix of the album, and even in that stage it was clear that I’d enjoy the process. Collaborating with her musical director Alex Rybeck, she had put together a really lovely set of tunes that were beautifully arranged and recorded. It’s a style of music I love, but don’t often get to work on. It was an easy choice to make.

…Berk’s selection of rarely-heard tunes isn’t all that makes “Spring” special. There’s also Berk’s gossamer delivery, which brings to mind classic band singers, and Alex Rybeck’s astute arrangements, which both support her vocals and gracefully illuminate the music. I’ve found myself returning to this one frequently.

Celia Berk proved, once again, that one’s “second act” can be her most satisfying. As she repeatedly made mention of her corporate career, Berk conveyed that, although she enjoyed and prospered during that comfortable period of life, singing was her destiny.

CELIA BERK LAUNCHES BELATED CABARET CAREER WITH A SOLID CD RELEASE AND IMPRESSIVE DEBUT SHOW

John Hoglund // BroadwayWorld.com // December 7, 2014

Watching a singer like Celia Berk, who brings a heartwarming balance, a subtle good humor, originality, and a lot of affection to everything she sings, makes one realize the crucial role good instincts play in the self-conscious, self-absorbed world of cabaret…In this auspicious debut she proved she easily puts her personal stamp on an eclectic mix of songs. Such ability springs directly from who she is and not from someone’s idea of who she should be.

It’s not every day that a cabaret artist emerges with her first solo show with a critically lauded debut CD in tow. Then again, it took a while for Celia Berk to get to her current happy perch, so why not enter with a bang?

Celia Berk is a fledgling cabaret singer, yet her debut show is as accomplished as any I’ve seen by veterans…She has grace, imagination, a sense of humor, and talent. Musicianship is splendid. This is a terrific show.

Let yourself be charmed. It’s not a chore; indeed, it’s pretty much unavoidable. Celia Berk exudes gracious warmth on top of a smooth, meaty mezzo and an impeccable choice of material and sidemen. Things are apparently falling into place for her in her life now so perhaps it is easy for her to generate her smile from deep in her heart – but those of us in its radiance don’t have to concern ourselves with its source, only its glow.

Celia Berk, about to make her cabaret debut at The Metropolitan Room, has developed a scenario featuring “My Yiddisha Nightingale” which is impossible to imagine another vocalist tackling, let alone imagining. The artist sings with Lower East Side inflection and cinematic phrasing. Her own authoritative alto bookends a parenthesis of Puccini- in Yiddish! with full operatic luster. Vivid and impressive.

I can’t remember the last time I heard an album and told myself, “Wow. This is exquisite.” That was exactly my thought when I listened to Celia Berk’s “You Can’t Rush Spring.” I know it’s only May, but this album would be hard to beat as my favorite album of the year.

One more chance to sing at the Metropolitan Room’s current location, and one more chance to be part of IT HELPS TO SING ABOUT: SONGS OF BEN SCHAECHTER & DAN KAEL when it returns on September 16 and 17.

July 6, 2017 — THE MABEL MERCER FOUNDATION

S’Awful nice to be part of the October 17 evening celebrating the music of George Gershwin at this year’s Cabaret Convention at Jazz At Lincoln Center.

June 12, 2017 — THECITYVIEW.COM

My first inclusion in a Will Friedwald column! This one’s about the upcoming Dietz & Schwartz & Friends concert at Carnegie Hall.

This duet with Josephine Sanges has been added to the permanent collection of the Performing Arts Library at Lincoln Center! https://youtu.be/B9WsBNj3mqY

February 23, 2017 — MAC AWARDS

So proud to have MANHATTAN SERENADE — the show directed by Jeff Harnar, and the album arranged and conducted by Alex Rybeck — recognized by the cabaret community with two MAC — Manhattan Association of Cabarets and Clubs nominations.

So thrilled to received the BroadwayWorld.com Cabaret Award for Best Show, Female for MANHATTAN SERENADE. Musical Director Alex Rybeck was also honored, as was Director Jeff Harnar (who picked up his second consecutive Best Male Vocalist Award).

What a nice New Year’s surprise from Donald Feltham’s The Broadway Radio Show. My second album MANHATTAN SERENADE is one of the “extras” at the end of his “MY TOP TEN FAVORITE CAST RECORDINGS OF 2016! (plus some extras).”

Thrilled to be nominated for two awards: Best Show, Female and Best Vocalist, Female and to have my Director Jeff Harnar and Musical Director Alex Rybeck nominated as well. You can see some of our collaboration at YouTube.com/CeliaBerkMusic.

Thrilled to be invited back to the Mabel Mercer Foundation’s Cabaret Convention, which returns to Jazz At Lincoln Center this year. I’m part of the October 19 evening saluting Stephen Sondheim, hosted by Jeff Harnar and Andrea Marcovicci.

June 10, 2016 — PANDORA

MANHATTAN SERENADE has just been accepted by Pandora! That’s the second album arranged and conducted by Alex Rybeck and Co-Produced by Scott Lehrer to be selected. Coincidence? I think not. It joins my debut album YOU CAN’T RUSH SPRING, which has had over 7,000 spins.

June 6, 2016 — CABARET SCENES/MUSIC REVIEWS

Thank you John Hoglund for this review of my second album, and especially for the final paragraph recognizing my extraordinary — and extraordinarily generous — collaborators.

Thank you Robert Windeler for this review of my second show, celebrating my second album. So glad he called out the inspired and inspiring contributions of Director Jeff Harnar, Musical Director/Arranger Alex Rybeck, Jered Egan on bass (who paired with Michael Goetz on our April dates), Dan Gross on percussion and Dan Willis on woodwinds.

We’re a “Bistro Pick”! Thank you to the Bistro Awards for highlighting our upcoming shows at the Metropolitan Room. We’re there every Sunday in April, celebrating the release of my new album, MANHATTAN SERENADE.

I’m heading to The Salon, hosted by Mark Janas and produced by Tanya Moberly. Alex Rybeck and I are in the “Salon Spotlight.” We’re previewing three songs from our new album MANHATTAN SERENADE, which drops April 1.

March 6, 2016 — A BROAD SPECTRUM

Thank you to Mary Foster Conklin for including my debut album YOU CAN’T RUSH SPRING on her new weekly show “A Broad Spectrum” on WFDU 89.1 FM/www.wfdu.fm ‘s HD2 channel “Jazz And What’s More.” She’s offering up an assortment of music by Women Who Inspire – Writers, Composers, Instrumentalists and Vocalists (and yes, there will be airplay of male artists too, in the Honorable Men-tion slot).

Fun profile of the 2016 BroadwayWorld Cabaret Award winners in the March/April issue of Cabaret Scenes Magazine! What a thrill to be in such esteemed company. And heartfelt thanks to everyone whose votes earned me the Best Debut Show honor.

January 20, 2016 — RADIO WORLD INDIE

Thank you Lucio Urbano for adding my debut album YOU CAN’T RUSH SPRING to “Straight Up Jazz With Luciano” from 12PM to 1PM on Radio World Indie. http://www.radioworldindie.org/

January 19, 2016 — BROADWAYWORLD AWARD

Thrilled to be voted the Best New York Cabaret Debut of 2015. And oh my, what wonderful company I am in!

I’m Miss January! (Well, Miss January/February…) I’m the cover story of the first issue of 2016. Marilyn Lester’s profile is called “You Can’t Rush Success.”

December 23, 2015 — INAUGURAL SHOW OF A NEW SERIES

Thrilled to be part of the first show of a new series broadcasting David Kenney’s “Everything Old Is New Again” LIVE from the Metropolitan Room the first Sunday of every month. WBAI, 99.5 fm; WBAI.org; oldisnew.org

What a pleasure to join fellow MAC Award-winner Dawn Derow for another performance of her BroadwayWorld Award-nominated show LEGIT: A CLASSICAL CABARET. With Tenor Victor Khodadad. Musical Direction by Mark Janas. Direction by Lina Koutrakas. Presented by Carolyn Montgomery-Forant as part of her new “Stronger Stuff” Series at the Laurie Beechman Theatre.

In the WFUV studio with Alex Rybeck, Sally Mayes, Kevin Dozier, Jeff Harnar and host Bob Sherman recording a special cabaret-focused Thanksgiving Sunday broadcast of his “Woody’s Children” series. November 29, 1-3pm ET on 90.7fm and streaming at wfuv.org.

November 9, 2015 – THE MAC CHANNEL

Selections from my debut album YOU CAN’T RUSH SPRING are now streaming on the MAC Channel of Accuradio.com. It features members of the Manhattan Association of Cabarets & Clubs, which honored me with the 2015 Award for Female Debut, and nominated the album for the LaMott Friedman Award. http://www.accuradio.com/channel/the-mac-channel/707/

October 14, 2015 – THE MARGARET WHITING AWARD

What a surprise and thrill to be presented with the 2015 Margaret Whiting Award by My Ideal Music, Inc. and the Mabel Mercer Foundation. Made all the more special by being presented onstage by Margaret’s daughter Debbi Bush Whiting, in-between my two songs at the Cabaret Convention.

October 3, 2015 – WE’RE A GREAT EVENT IN NYC

Thank you to The Three Tomatoes for including our November 8 return to the Metropolitan Room as one of the Great Events in NYC Life this Fall!

Thank you Nate & Paul for adding tracks from YOU CAN’T RUSH SPRING to today’s “Sunday Show Tunes” in Woking, Surrey, UK. http://www.radiowoking.co.uk/

May 2, 2015 – HELLO PALMETTO, FLORIDA!

Thank you Jan Eberle for including my debut album YOU CAN’T RUSH SPRING on your May 2 “Swing Museum” program at KSAV.org Internet Radio. http://ksav.org/?page_id=8

April 27, 2015 – CELEBRATING JULIE WILSON

Honored to be invited to be part of 54 Below’s celebration of Julie Wilson on May 14.

April 26, 2015 – HOWZIT, SOUTH AFRICA!

Thank you Peter Wagenaar and Radio Today Johannesburg for introducing my debut album to your listeners. And in such esteemed company as Richard Rodney Bennett, Billie Holiday, Barbara Lea, Dick Haymes, June Christy and Chris Connor! The April 27 “I’ve Got My Standards” program promises to be “seriously STRANGE”. Hmm….what song from my album meets that criteria? Have a look at the song list in the “About the Songs” section of GramercyNightingale.com and see if you can guess.

Thank you Ted Otten and Michael Kownacky for including two tracks from my debut album YOU CAN’T RUSH SPRING on tonight’s WWFM program featuring “new to us” releases. It’s the only solo album included, and we’re in the company of some great Broadway cast albums! http://www.dcsro.com/

What a privilege it is to be included in the First Annual Cabaret/Jazz Honors for TheatreScene.net as Outstanding Female Debut. And how wonderfully John Hoglund has put today’s cabaret world into context — past, present and future.

The latest newsletter highlights our new Metropolitan Room dates starting this Sunday, shares the first video on my YouTube channel, and more. You can subscribe to our mailing list in the lower left hand corner of thisGramercyNightingale.com page!

We are so pleased that BwayTunes.com has chosen our version of SAND to be this week’s featured song and free download. Read our Song Notes about this hidden gem from Stephen Sondheim in the About The Songs section of GramercyNightingale.com

Our latest newsletter announced new Metropolitan Room dates, shared some very generous reviews of our Fall debut, detailed my Year of Firsts, and much more. You can subscribe to our mailing list in the lower left hand corner of thisGramercyNightingale.compage!

Thank you Donald Feltham for picking YOU CAN’T RUSH SPRING as one of his three favorite vocalist releases of 2014. At the 1:21 mark of Donald’s “The Ten Best Cast Recordings of 2014!” you can listen to our version of Stephen Sondheim’s SAND.

Thank you Stephen Hanks for including my Year of Firsts in this extraordinary array of artists I admire. I may be “mature” but I sure feel like a gawky kid surrounded by so many seasoned professionals.

Looking forward to seeing the interview Musical Director Alex Rybeck and I did with Clifford Bell for his special two hour edition “NEW YORK, NEW YORK: POSTCARDS FROM THE CABARET MOTHERSHIP”. MONDAY, DEC. 15 2pm PST

Excited to be invited to participate in the Guinness World Record Breaking Event: The Longest Variety Show at the Metropolitan Room in New York. 60 hours of continuous entertainment. The most performers in one show, ever! Broadcast live. My slot is 9:15 am on Friday, January 2.

Heading down to Asbury Park, NJ on Monday, November 24 to tape a segment on Tim McLoone’s program. Delighted that guitarist Sean Harkness is joining me. We’ll be doing a live version of our studio recording of YOU CAN’T RUSH SPRING.

November 13, 2014 – DOUBLE YOU ENNY DOUBLE YOU, ELEVEN THREE OH IN NEW YORK!

Thank you Joe Fay and Metromedia Radio for adding YOU CAN’T RUSH SPRING to your playlist. This girl singer is thrilled you are keeping alive the tradition of the great WNEW-AM 1130 New York.

Thank you Rick O’Dell for adding the title track of YOU CAN’T RUSH SPRING to the playlist of Sunday Jazz Brunch at WDCB in Chicago. Ann Hampton Callaway wrote this beautiful song for Lena Horne. (See her story in our Song Notes!)

November 2, 2014 – CHEERS, ENGLAND!

CD Baby reports YOU CAN’T RUSH SPRING has jumped the pond and is selling in your country.

October 29, 2014 – HARTFORD, CT

Thank you Bob Parzych and WRTC 89.3 FM Radio in Hartford, Connecticut for putting YOU CAN’T RUSH SPRING into rotation!

October 25, 2014 – A SHEYNEM DANK…

… Woman Around Town Alix Cohen for the generous shout out in her review of Thursday’s joyful final evening of The Mabel Mercer Foundation’s 25th Annual Cabaret Convention at Rose Hall Theater at Jazz at Lincoln Center.

September 21, 2014 – NEW YORK CABARET CONVENTION/JAZZ AT LINCOLN CENTER

Honored and thrilled to be invited by KT Sullivan and The Mabel Mercer Foundation to join the final night of the 25th New York Cabaret Convention at Jazz at Lincoln Center’s Frederick P. Rose Hall on October 23. Hosted by Klea Blackhurst, the evening’s theme is Come On and Hear: The Songs of Irving Berlin. I’ll be bringing an extra special Alex Rybeck arrangement, and happily he will be at the piano.

September 19, 2014 – COME TO THE CABARABIA

Thank you Clifford Bell for the apt shout out to Arranger/Conductor/Co-Producer Alex Rybeck, and the generous words about our album.

September 19, 2014 – FOLLOW, FOLLOW TO BLOOMING GROVE, NY

Tomorrow night we head back to lovely Blooming Grove for an evening of September songs.

September 16, 2014 – HELLO CANADA!

iTunes reports that our album YOU CAN’T RUSH SPRING is being downloaded by our music-loving friends to the North.

September 13, 2014 – HELLO PALM BEACH COUNTY!

On September 15, Jill and Rich Switzer will feature YOU CAN’T RUSH SPRING on “New Music Monday” at Legends 100.3 FM WLML in Palm Beach County!

http://www.legendsradio.com/jill–rich-switzer.html

September 12, 2014 – A GRAND NIGHT FOR SINGING

Thank you Carol Montana and the Times-Herald Record for this lovely write up of our August Broadway Concerts Direct program in Blooming Grove, NY. We are a merry band of musicians!

Rich Flanders and I are so pleased to have SAGEBRUSH LULLABY played by Wyn Machon on Oamaru Heritage Radio 88.3fm, New Zealand Country Music Radio 107.3fm Fielding, and The Peaks Radio 88.4fm North Canterbury. More about this lovely Kay Swift song at http://www.cdbaby.com/cd/richflandersandceliaberk2

Looking forward to my third visit to Music at the Mansion August 31 at the Oakeside Cultural Center in Bloomfield, NJ. Thank you Corinna Sowers-Adler and Nicholas Adler for the invitation! With Eric Sedgwick at the keyboard, we’ll preview material for my 11/23, 11/30 and 12/6 Metropolitan Room engagement celebrating the release of YOU CAN’T RUSH SPRING. Add in my friend Craig Pomranz, Jamie Hartmann, Deborah Martin and of course Corinna herself and it promises to be a lovely way to spend a late Summer afternoon.

A lovely Summer Sunday at The Metropolitan Room, hosted by Susan Winter and Deb Berman. Singing YOU CAN’T RUSH SPRING with Sean Harkness on guitar and Alex Rybeck just outside the frame of the photo on piano.

August 9, 2014 – BLAME IT ON THE SUMMER NIGHT

Saturday evening in beautiful Blooming Grove, New York: A Lew Spence gem and Stephen Sondheim’s SAND from our album YOU CAN’T RUSH SPRING.

August 5, 2014 – HELLO LONG ISLAND!

Thank you Bob Perry for playing our title track on 1100 WHLI and whli.com this morning! What better introduction of our album to the station’s listeners than Ann Hampton Callaway’s beautiful YOU CAN’T RUSH SPRING, arranged by Alex Rybeck and featuring Alex on piano, Sean Harkness on guitar, Steve Doyle on bass and Dan Gross percussion.

Thank you Eddie Dunn, Host of Saturday Night Jazz at KWIT-KOJI, for sharing SAND with the good people of Sioux City, Iowa; Northeast Nebraska and Southeast South Dakota. We’re so pleased you played this lesser known gem by Stephen Sondheim.

And thank you for your kind words: “An assured and sophisticated sound…emotionally expressive and technically flawless.”

http://kwit.org/programs/saturday-night-jazz

July 21, 2014 – THE PENTHOUSE Radio

Thank you Bob Perry and The Penthouse Radio for adding PENTHOUSE SERENADE / STAIRWAY TO THE STARS (“an inspired pairing”), I’VE BEEN WAITING ALL MY LIFE, THE FOLKS WHO LIVE ON THE HILL and YOU CAN’T RUSH SPRING to your playlist!http://www.thepenthouseradio.com

July 18, 2014 – SOLO CABARET DEBUT THIS FALL!

Rapturously happy that Sean Harkness on guitar and Michael Goetz on bass are joining us at the Metropolitan Room November 23, November 30 and December 6. With Alex Rybeck as Musical Director and Jeff Harnar directing, this Girl Singer is making her solo cabaret debut encircled by the best of the best.

July 18, 2014 – EVERYTHING OLD IS NEW AGAIN WBAI 99.5 FM

Thank you David Kenney for including us on this Sunday’s “Everything Old Is New Again” program.

July 14, 2014 – THE JAZZ CAFE WRHU 88.7FM

Thank you John Bohannon for playing MOONGLOW today on The Jazz Café WHRU 88.7 FM. So pleased this beautiful duet with Rich Flanders is in the spotlight. Music by Will Hudson and Irving Mills. Lyrics by Eddie DeLange. Arrangement by Alex Rybeck. Alex on piano. Michael Goetz on bass. Dan Gross on drums and percussion. Mixed by Paul Rolnick. Available on iTunes and CDBaby!

http://www.johnbohannon.com/radio_landing.html

July 11, 2014 – SUMMER LOVIN’

Tomorrow evening in Blooming Grove: Looking forward to singing back up for Carole Demas as Broadway’s original Sandy recreates Summer Nights from Grease for our opening number. Also revisiting IF IT’S ONLY LOVE from Metropolis with Mark Planner, spotlighting IT’S THE STRANGEST THING from “You Can’t Rush Spring” and trying on a new song for the first time: MANHATTAN IN JULY by my good friends and collaborators Ben Schaechter and Dan Kael. More information at http://www.BwayDirect.com

July 9, 2014 – LAURIE BEECHMAN THEATRE

Opening night of OUR TIME: SULLIVAN & HARNAR SING SONDHEIM. KT Sullivan and Jeff Harnar brought new insights to familiar songs, and new songs to those of us who thought we knew it all. A wonderful evening.

With Jeff and Mark Nadler

And with Debbi Bush Whiting. Her mother Margaret Whiting is one of the singers in my personal pantheon of greats. Her grandfather Richard A. Whiting contributed treasures to The Great American Songbook including Hooray for Hollywood and On The Good Ship Lollipop. Thrilled to learn that Debbi found time to listen to YOU CAN’T RUSH SPRING in and around preparing for the recent Carnegie Hall concert celebrating her mother.

July 8, 2014 – ANNHAMPTONCALLAWAY.COM

Honored to be amongst the artists who have recently recorded a song by Ann Hampton Callaway:

This Saturday – June 14th, 2014 – we’ll celebrate June in Blooming Grove. Lilacs will be gathered thanks to Ivor Novello…The Doctor Will Be In for Charlie Brown and Lucy… The frustrations and charms of a cabaret audience will be explored… and we’ll enjoy the rewards that come from not rushing Spring. More information at http://www.BwayDirect.com

What a thrilling unexpected opportunity to sing at the Bemelmans Bar at The Carlyle Hotel on May 25th and to share the stage with Jim Caruso, Billy Stritch, Steve Doyle, Alex Rybeck, Jeff Harnar, Linda Lavin and many others. Click here to see more of this wonderful evening of music on BroadwayWorld.com:

Thank you to Luha Thoughts for our first review of YOU CAN’T RUSH SPRING!

“I can’t remember the last time I heard an album and told myself, ‘Wow. this is exquisite.'”

“I can’t think of a bad track in here, and it’s so cohesive and rounded that each song fits where it should be, not a note out of place. Alex Rybeck’s arrangements give all the songs a sheen that enhances their polish”

Notes on why we chose this great Kander & Ebb song for our album You Can’t Rush Spring, and musician credits, can be found in the ABOUT THE SONGS section here on GramercyNightingale.com

May 14, 2014 – YOU CAN’T RUSH SPRING IS HERE!

My debut album, YOU CAN’T RUSH SPRING, conducted and arranged by Alex Rybeck, is finally here! It is available for purchase on iTunes and CDBaby. Follow the links on the home page to purchase the album and click on the song titles to read the extended liner notes for each track.

May 4, 2014 – SAGEBRUSH LULLABY RELEASE

Just released a duet — SAGEBRUSH LULLABY — with my friend and singing partner Rich Flanders. Written by Kay Swift and arranged by Alex Rybeck, it’s available as a single on iTunes and CD Baby. This lovely song has a special place in The Great American Songbook. Read about it here: http://www.cdbaby.com/cd/richflandersandceliaberk2

April 28, 2014 – EVERYTHING OLD IS NEW AGAIN

Thank you David Kenney at WLBT for including our version of YOU CAN’T RUSH SPRING on the April 27 broadcast of “Everything Old Is New Again”. It’s a thrill to be on the same track list as Billie Holiday, Duke Ellington, John Pizzarelli, Judy Garland, Billy Porter, Carmen McRae, Shirley MacLaine, Ella Fitzgerald, Peter Allen and others. And the program archive means everyone can hear your kudos for Alex Rybeck and Ann Hampton Callaway. Hear what David Kenney had to say here: http://www.mixcloud.com/oldisnewradio/oldisnewradio_140427/

April 10, 2014 – CO-HOSTING SALON WITH MARK JANAS

Excited to be Co-Hosting Salon on Sunday evening. This award-winning weekly Open Mic is hosted by Mark Janas and produced by Tanya Moberly. The theme for the evening is “Birds of a Feather: Songbirds and Spring.” The Salon Spotlight will feature Jaye Maynard. Alex Rybeck will be at the piano. Sarah Rice and I may add a little “cluckatura” to Mark’s “Classical Corner”… http://markjanasthesalon.com/

April 9, 2014 – BROADWAY COMES TO THE GARDEN

Looking forward to dusting off a golden oldie with my friend Rich Flanders on Saturday night. And Irving Berlin’s Yiddisha Nightingale will also be spotted in Blooming Grove that evening.

This evening will feature an eclectic evening of song, about well… just about everything — maybe even songs to bring an early spring. (One can always hope. Enough with all this snow!) Songs will include favorite selections from the American, International and Celtic songbook.

What is Sunday without “A Bagel and A Song”?
Delighted to be joining Alex Rybeck at
OPEN MIC @ THE MET
a new series presented by Deb Berman & Susan Winter
12 Noon – 2:30 pm
The Metropolitan Room
34 West 22 Street.
I’ve been invited to sing two songs from our upcoming album!

CELIA BERK’S MANHATTAN SERENADE EXUDES ROMANTIC NOSTALGIA

Stephen Holden// The New York Times // April 25, 2016

Ms. Berk made you feel about New York the same way a Cole Porter song makes you feel about Paris.

Celia Berk’s terrific sophomore effort, Manhattan Serenade, is a worthy companion to her smashing debut disc, You Can’t Rush Spring (2014), the recording that established Berk as a savvy new singer with style and substance to burn.

LUXURIATING IN THE LUSH PHRASINGS OF SINGER CELIA BERK: THE ONE-OF-A-KIND CHANTEUSE HOLDS COURT AT THE METROPOLITAN ROOM THROUGH MARCH

Rex Reed // New York Observer // March 17, 2015

Charm, sophistication, good taste and a titanic talent are all rare gifts in cabaret…Ms. Berk displays them all, setting the bar very high indeed for every girl singer who follows…Intimate, exquisite, understated, her facial expressions are as exciting to watch as her lyrics are to hear. Celia Berk sings in tune and from the heart, with resonance in her lower register, power in her upper register, and passion in both. Where has she been all my life?

Celia Berk’s MANHATTAN SERENADE is the runaway winner of the award for Best Show, Female. This is the second major category win for Berk, who won in the Best Debut Show category last year for YOU CAN’T RUSH SPRING.

THAT WAS ENTERTAINMENT: A ONE-NIGHT CONCERT FOCUSED ON SONGWRITERS: DIETZ & SCHWARTZ (and some more recent ones)

Marilyn Lester // Nite Life Exchange // June 22, 2017

A play on words was delivered by the ever-evolving Celia Berk, with droll sophistication, and Alex Rybeck on piano, in “The Party Upstairs” by Ronny Whyte and Francesca Blumenthal. Berk also remembered Dietz and Schwartz with “Something to Remember You By,” sung with cool and smooth elegance.

When life gets you down, It Helps to Sing About It, crooned the stellar cast … The all pro cast included Celia Berk, who charmed with “I’ll Wait” (while the audience gets it together) and “Manhattan in July”, a lovely song that warmed the soul about New York.

Intimacy and connection, whether with a crowd at Jazz at Lincoln Center, fellow artists at piano bar Don’t Tell Mama, or scattered tables at The Metropolitan Room in Flatiron, is what Berk is constantly chasing…

So, what do you do for an encore when you’ve been showered with cabaret awards and nominations in your solo debut year, had your face on the front of Cabaret Scenes magazine as the subject of one of the just six annual cover feature stories, received a coveted spot in the annual Cabaret Convention concert program others long for (for many long years) and, while on the big Jazz at Lincoln Center stage, been surprised by a previously unannounced honor—presented with a plaque and award named for star songstress Margaret Whiting? If you’re the celebrated Celia Berk, you go to work.

Where is cabaret’s next top headliner coming from? To paraphrase a Sondheim lyric, “Don’t worry, she’s here.” She’s Celia Berk, who packed the Metropolitan Room through four Sunday sessions in April with her rich voice, simplicity of style, and warm personality.

As was apparent from her earlier performances and debut CD, this is a woman of remarkable emotive fluency – capable of putting a smile, a smirk or a wink into the last third of a syllable, and equipped with a rich alto instrument under intelligent and precise control.

In an era in which the big voice and the big belt holds sway, it’s a treat to hear a singer approach a song with an artistic sensibility that honors both the music and the lyrics. In the latter regard it’s very clear that Berk has thought about the lyric and she knows what she’s singing about from the inside out. Berk proves you don’t have to shout to be truly heard.

One of the more auspicious debut recordings of recent years, Celia Berk’s You Can’t Rush Spring is an intoxicating revelation! An elegant vocalist with an instinctive attention to lyrics and a straightforward delivery, Berk’s unerring musical taste is exceeded only by her superb choice of collaborators…Like Lee Wiley, Julie London and the late, great Mary Cleere Haran, Celia Berk is a subtle storyteller. This classy recording only confirms she has many more stories to tell.

Next up was the extraordinary mezzo soprano Berk with Alex Rybeck on piano, with a full version (with every lyric and great acting skill) of the Bette Davis number “They’re Either Too Young Or Too Old.” She was then surprised to be presented by Debbi Whiting with the Margaret Whiting award and the cash included with the award. After, Berk sang a wonderful “I’ll Walk Alone” effortlessly hitting great high notes.

Making one of the most auspicious cabaret debuts in years, [Celia Berk] fulfilled her dream and took the Metropolitan Room and cabaret by storm in 2014 with her eclectic show, You Can’t Rush Spring…To say she found her calling (after dreaming about it for so long,) would be an understatement…It was this lady’s classy approach and intelligence that shined throughout the hour – making her a winner. She’s funny. She’s reflective. Mostly, she has the goods that should keep her in the cabaret spotlight as she climbs the ladder – with a lot of support.

…The Metropolitan Room had the quietness of a recording studio as the very musically sophisticated audience was held in rapt attention by Celia’s artistry. I would be enamored with any song she wrapped her voice around, but her unique song selection made the evening especially compelling.

Celia Berk has been making a name for herself with her debut album You Can’t Rush Spring and her debut cabaret show of the same name. Both include what she calls hidden gems: lesser-known songs from great songwriters. In preparing for the show, she came across a song that has proven to be a favorite with audiences and critics.

Sweeney Todd original cast member Sarah Rice introduced Jeff Harnar. He did a sweet Sondheim medley of “The Little Things You Do Together,” “I’m Calm,” and “Getting Married Today.” He then presented the Best Vocalist Award to Celia Berk, who marvelously performed Sondheim’s little known song ”Sand,” from the unproduced movie musical, Singing Out Loud.

I was a fan before everyone else jumped on the bandwagon!…In October, both Celia and Peggy Eason appeared in the Mabel Mercer Cabaret Convention on the same night honoring Irving Berlin. Both brought down the house. When Celia hit the cabaret scene with her first show a few months ago, she won over all who saw her, including Rex Reed, who sung her praises in print. Actually, all the critics have been as impressed!…

The first thing you’ll notice when you spend an evening at a performance of Celia Berk’s is her smile: wide, eager, genuine. The next is your own. Upon entering the Metropolitan Room for the highly anticipated return of her “You Can’t Rush Spring” solo cabaret (modeled after her 2014 debut album of the same name), Ms. Berk beamed with delight and an infectious excitement as she walked through the room with a welcoming and thankful grace. By the time she reached the stage and took the microphone, there was a shared rapport across the room of old friends and the newly acquainted, all – including Berk – there to enjoy a good time.

Celia has the voice, the phrasing, and the demeanor to rank her as one of the most sophisticated cabaret performers out there. I wish I had gotten the same lift from an old E.H. Hutton tip as I got from Rex’s.

Most Deceptively Comic Performance During a Wonderful Vocal: Celia Berk’s rendition of Irving Berlin’s “Yiddisha Nightingale” at the Cabaret Convention and in her solo show at the Metropolitan Room not only revealed a surprising vocal range but also a Fanny Brice-like comedic flair. So nu? What’s not to love?

Most Obvious Breakout Performers Who Didn’t Make My Favorite 20 Shows List: …Celia Berk was one of the surprise stories of 2014 with both her CD release and solo show at the Metropolitan Room

What would you attempt if you knew you could not fail? The question signaled an onramp for Celia Berk. Unsure of outcome, the performer was and is determined to create a journey embodying integrity and artistry.

Ms. Berk took many years before deciding to launch her solo career, and she did everything right. She surrounded herself with top talent, released a nifty CD, “You Can’t Rush Spring,” and demonstrated herself to be a fine interpreter of little-known songs from great composers, as well as having an unexpected flair for comedy. Expect more in years to come.

I would love to see this lady live in one of her cabaret outings, and one day she may well come over to the UK, but in the meantime I can’t give enough praise for this CD and, if like me, you are a great admirer of the voices and styles of Peggy Lee and such, then you will LOVE this album. You can get it on CD or through Amazon or iTunes. To be honest, I don’t care how you get it – just get it!

CABARET LIFE NYC: MY SECOND HALF OF 2014 CABARET JOURNEY or ONE REVIEWER’S LONG PROCRASTINATION SPECIAL AS WE BID FAREWELL TO ANOTHER YEAR OF SHOW HOPPING

Stephen Hanks // BroadwayWorld.com // December 26, 2015

Maybe you can’t rush spring, but you can certainly rush your cabaret career when you’re starting it later in life. Celia Berk isn’t wasting any time as this past year she released her highly-praised debut CD (of the same name), wowed the Cabaret Convention in October, and staged her solo debut show…And she went three-for-three. Berk’s show…featured “hidden gems from great songwriters,” during which the audience discovered that Berk herself was a hidden gem…Berk is funny, charming, and expressive, and possesses a highly appealing alto to mezzo range…definitely one to watch in 2015 and beyond.

Singer Celia Berk was working on recording her debut album of standards, show tunes, and hidden gems from the Great American Songbook. She needed somebody to help her navigate the visual side of the process, and of course I was happy to help…Celia was kind enough to trust me with an unfinished mix of the album, and even in that stage it was clear that I’d enjoy the process. Collaborating with her musical director Alex Rybeck, she had put together a really lovely set of tunes that were beautifully arranged and recorded. It’s a style of music I love, but don’t often get to work on. It was an easy choice to make.

…Berk’s selection of rarely-heard tunes isn’t all that makes “Spring” special. There’s also Berk’s gossamer delivery, which brings to mind classic band singers, and Alex Rybeck’s astute arrangements, which both support her vocals and gracefully illuminate the music. I’ve found myself returning to this one frequently.

Celia Berk proved, once again, that one’s “second act” can be her most satisfying. As she repeatedly made mention of her corporate career, Berk conveyed that, although she enjoyed and prospered during that comfortable period of life, singing was her destiny.

CELIA BERK LAUNCHES BELATED CABARET CAREER WITH A SOLID CD RELEASE AND IMPRESSIVE DEBUT SHOW

John Hoglund // BroadwayWorld.com // December 7, 2014

Watching a singer like Celia Berk, who brings a heartwarming balance, a subtle good humor, originality, and a lot of affection to everything she sings, makes one realize the crucial role good instincts play in the self-conscious, self-absorbed world of cabaret…In this auspicious debut she proved she easily puts her personal stamp on an eclectic mix of songs. Such ability springs directly from who she is and not from someone’s idea of who she should be.

It’s not every day that a cabaret artist emerges with her first solo show with a critically lauded debut CD in tow. Then again, it took a while for Celia Berk to get to her current happy perch, so why not enter with a bang?

Celia Berk is a fledgling cabaret singer, yet her debut show is as accomplished as any I’ve seen by veterans…She has grace, imagination, a sense of humor, and talent. Musicianship is splendid. This is a terrific show.

Let yourself be charmed. It’s not a chore; indeed, it’s pretty much unavoidable. Celia Berk exudes gracious warmth on top of a smooth, meaty mezzo and an impeccable choice of material and sidemen. Things are apparently falling into place for her in her life now so perhaps it is easy for her to generate her smile from deep in her heart – but those of us in its radiance don’t have to concern ourselves with its source, only its glow.

Celia Berk, about to make her cabaret debut at The Metropolitan Room, has developed a scenario featuring “My Yiddisha Nightingale” which is impossible to imagine another vocalist tackling, let alone imagining. The artist sings with Lower East Side inflection and cinematic phrasing. Her own authoritative alto bookends a parenthesis of Puccini- in Yiddish! with full operatic luster. Vivid and impressive.

I can’t remember the last time I heard an album and told myself, “Wow. This is exquisite.” That was exactly my thought when I listened to Celia Berk’s “You Can’t Rush Spring.” I know it’s only May, but this album would be hard to beat as my favorite album of the year.